In this study, Ahmet Necati Cumuli's play Yarali Geyik has been analysed in accordance with "The Transtextual Relations Theory" put forward by Gerard Genette in order to reveal intertextual relations in literary texts. In his theory, Genette has regarded intertextuality as one of the five transtextuality relations including hypertextuality, paratextuality, architextuality and metatextuality. In this new respect that is put into practice by text-centered close reading, the hypotexts of Yarali Geyik and the fact that these texts have been chosen by the author deliberately, have been effective. In the work, in accordance with the traditional forms, texts of oral tradition (folk ballad and story) have been the basis for a text of written tradition (the art of drama) and the hypertextuality relation has been put into practice in a way that many intertextuality theorists agree on. In the study, Yarali Geyik is regarded as the hypertext and the folk ballad and story as the hypotext. Furthermore, the process in which the author gives his own thematic meaning to the work that he rewrites with a transposition homodiegetic and the intertextual formal and thematic variations have been emphasized in the study. The work has been analysed in terms of not only the hypertextuality relation but also other transtextual relations. In paratextuality, other texts that the author interrelates by means of the title he's chosen for his work have been determined; in architextuality the literary form of the work has been stated and in metatextuality the evaluations of the author that he made about Yarali Geyik and its hypotexts in other texts, have been stressed. Formal transformations also brought along semantic transformations and the author has transformed the hypotexts that are about "the ill luck of deer hunt" to a hypertext that is about "the pleasure of the dedication to an ideal".