In the last twenty years, memory has gained broader attention in Turkey's social, cultural and political arena. In line with this movement, independent and subsidized theatres produced plays engaging with Armenian history through diverse political and aesthetic agendas. Among these works, public and state theatre productions remained mostly invisible in theatre scholarship due to their ambiguous position that does not directly align with the framework of political theatre. This article examines the adaptation of the Ottoman Armenian playwright Hagop Baronian's Adamnapuyj aravelyan (1868) as Şark Dişçisi (The Oriental Dentist) (2011) by the Istanbul Metropolitan Municipality City Theatres (İBBŞT). While promoting confrontation with the past, Şark Dişçisi eliminates the crucial political insights of its source text and their ramifications for contemporary demands for historical justice regarding the 1915 Armenian Genocide. The intersection of revisionist theatre historiography and broader political dynamics in the adaptation process reveals the ambivalences of post-Genocide memory work in Turkey.

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