Keşanlı Ali Destanı, written by Haldun Taner in 1962 and staged in 1964, uses the non-hero, i.e., the anti-hero, to fight the battle against the system through dramatic storytelling and to expose the natural injustice of the system in order to change the status quo in both the play world and the real world. The forces that drive Keşanlı Ali to become an anti-hero often take the form of social norms and cultural hegemony. As a result of the valuations created by social norms and cultural hegemony, Keşanlı Ali finds himself in the position of the minority or the oppressed. Unlike the mythical hero of the epic genre, Keşanlı Ali does not represent the core of a community's great ideals, aspirations, or goals, and does not exhibit character traits whose lives are characterized by strength, courage, and skill, or reason. In other words, Ali exhibits both the characteristics of the hero in the classical narrative and those of the enemy he fights and has both positive and negative characteristics encoded within binary oppositions. He is portrayed as a mixture of good and evil. The combination of two different orientations in a representative person reveals the true nature of man and makes society reflect on the meanings attributed to concepts and phenomena such as morality, justice, order, right, beautiful, good, and evil. Identity is transformed into a multiple and dynamic structure, and singular identities, normative assumptions, and normative values constructed with values, experiences, bodies, and interpretations are combated. This identity politics, which has parallels with queer theory, is a form of protest against the homogenizing tendencies of hegemonic identities and social and cultural norms. Taner, who circumscribes insecurity or exclusion by placing the voices of people who could not become citizens at the center of the character he created, Keşanlı Ali, uses his play as a political tool that can challenge the dominant and oppressive ways of documenting these lives.