T.C. ÇUKUROVA ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ ...

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ABSTRACT THE SCOPE OF THE WORKS IN PHYSICAL THEATRE AND APPROACH OF THE DV 8 GROUP TO THE PHYSICALTHEATRE Ezgi COŞKUN MA Thesis, The Unit of Performing Arts Supervisor: Yrd.Doç.Dr. Muzaffer SÜMBÜL June 2008, 98 Pages Physical Theatre, which is occured with dance and theatre, has had an importance especially for the last thirty years. For the phsical features: mime, dance and choreography are the most important features of the physical theatre. The concept in physical theatre is consists of these: dance, movements, words, acting and all the other elements which are necessary for the stage. The most important products of the theatre are the ones which were produced for the last thirty years. The works and the inventions on Dance and movement theatre of the 1970s bases on the improvements in the subjects of the dance and the theatre of 1930s. V. Meyerhold and J.Grorowski who had significant researches in the area of physical theatre in Europe affected the groups of the dance-movement theatre of the 1970s indirectly. Pina Bausch, Wuppertal Dance Theatre, Jiri Kylian, Holland Dance Theatre , Sasha Waltz, Carlos Saura, Maurice Bejart, Silvia Guillem, Mats Ek and Dv 8 group are considered as being the significant groups of physical theatre from 1970s up to day.. In contact improvisation technique: each one of the theatre groups uses this technique according to their own methods. The technique of Martha Graham and contact improvisation is fundemantal for both operators of contemporary pyhsical theatre and choreographies of movement theatre. In both physical theatre and dramatic theatre, the body is in the search of original movements today and apart form being stereotyped. contact improvisation which is the iv
technique of many of the theatre groups can be defined as the body, another body which reacts to this body or the togetherness of these two bodies. Contact improvisation which is the method of physical theatre is going to help actors and actresses to examine their bodies in terms of biomechanics and divide their bodies into parts as an expression of the art and offer new ways for both dramatic theatre and physical theatre students. Key Words: Physical Theatre, Dance, Pandomime, Choreography, Motion, Contact Improvisation v
Page 1 and 2: T.C. ÇUKUROVA ÜNİVERSİTESİ SOS
Page 3 and 4: Çukurova Üniversitesi Sosyal Bili
Page 5: Gerek fiziksel tiyatroda, gerek dra
Page 9 and 10: oluşturabilir. Müzik, hareket tiy
Page 11 and 12: 2.2.2. Grotowski’nin Fiziksel ve
Page 13 and 14: GİRİŞ 21. yüzyıl tiyatro sanat
Page 15 and 16: BİRİNCİ BÖLÜM İNSAN VE HAREKE
Page 17 and 18: atlaması, yüzme sırasındaki hı
Page 19 and 20: 1.1.2. Hareketin Oluşumunda Yerçe
Page 21 and 22: Huizinga,1995; 14). Fakat bu açıy
Page 23 and 24: 1.2.2. Bedensel Devinimin Kültüre
Page 25 and 26: Oyunun niteliklerinin ve işlevinin
Page 27 and 28: “modern” tiyatro anlayışı il
Page 29 and 30: 19. yüzyılın sonlarına doğru k
Page 31 and 32: Siyasal amaçlı tiyatro düşünce
Page 33 and 34: fiziksel tiyatronun gelişimine do
Page 35 and 36: yararlanmıştır. Stüdyo çalış
Page 37 and 38: 14. Hazırlık provalarında, duygu
Page 39 and 40: Özdemir Nutku, Meyerhold’un hare
Page 41 and 42: Meyerhold’un Biyomekanik Oyunculu
Page 43 and 44: Grotowski oyun yazarından, sahnede
Page 45 and 46: Hareket ile bilinçli fiziksel eyle
Page 47 and 48: 2) Parmak uçlarında koşulur. Ko
Page 49 and 50: Ayak Temrinleri 1) Yere yatılıp b
Page 51 and 52: Academy) Ulusal Tiyatro ve Film Aka
Page 53 and 54: yazımı, koreoloji olmadığından
Page 55 and 56: hareket cümleleri oluşturulur. Ol
Page 57 and 58:
Burdan yola çıkarak koreografiyi
Page 59 and 60:
Bu bağlamda değineceğimiz bir ba
Page 61 and 62:
dışında dans olmaksızın da aya
Page 63 and 64:
“ Graham, eski formların içine
Page 65 and 66:
toplumların kendi halk dansları m
Page 67 and 68:
Fiziksel tiyatroda müzik kullanım
Page 69 and 70:
4.1.1. Pina Bausch ve Wuppertal Dan
Page 71 and 72:
• The Seven Deadly Sins • Legen
Page 73 and 74:
4.1.3. Sasha Waltz ve Çalışmalar
Page 75 and 76:
eserlere imza atar. Saura doksanlı
Page 77 and 78:
• Los Zancos / Kol Değnekleri
Page 79 and 80:
Smoke projesinde kadın ve erkek il
Page 81 and 82:
diğer çalışması ‘Strange Fis
Page 83 and 84:
Grup bütün oyunlarını tiyatro s
Page 85 and 86:
• Temposu ve ritmi olabildiğince
Page 87 and 88:
• İki oyuncu arasında bir kişi
Page 89 and 90:
Koreografisi yapılmış hareket ya
Page 91 and 92:
irinin bacakları yoktur. O da mask
Page 93 and 94:
kontrolsüz, sorgusuz, direkt bir i
Page 95 and 96:
dökülecek analizi maalesef sını
Page 97 and 98:
İki beden de birbirlerinden farkl
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Üç oyun kişisinin kendi süreçl
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hem dans ögesinin bu tür içinde
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Carlos Saura’nın sahneye koyduğ
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KAYNAKÇA And,Metin (1974) Oyun ve
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Ilgaz,Turhan(1994), Oyun,İstanbul,
Page 109 and 110:
www.ceebd.co.uk (22.05.2008) www.ik
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