Ontological Unfoundedness in Acting Methods and Memorate Acting as a New Acting Method Proposal

Gürkan Korkmaz

Makale detayları

Ontological Unfoundedness in Acting Methods and Memorate Acting as a New Acting Method Proposal

Yazarlar:

Gürkan Korkmaz

Yayıncı:

Yakup YILMAZ

Ana Başlıklar:

Oyunculuk-Reji

Dergi:

RumeliDE Dil ve Edebiyat Araştırmaları Dergisi Issue 40, pp.478-496

Belge Tipi:

Makale

Yayın Tarihi:

6/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001320223

pISSN:

2148-7782

Anahtar kelimeler:

Özet:

 In terms of the World Theater and in this context the Art of Acting, we still see the lack of a technically grounded, ontologically determined organic-authentic acting methodtechnique as a problem for the Art of Acting. We call this soullessness in the sense of lack of transcendental thought. So much so that in the methodological approaches to the art of acting to date, the view that the source of theater originates from collective rituals as put forward by Cambridge anthropologists has caused everything about theater to be built on this ground. In this study, it is argued that there is an ontological groundlessness in all methodological approaches from the emergence of the profession of acting and the transformation of this profession into a technique in the form of a specific method until today. As the reason for such a groundlessness, attention was drawn to the view that the playful is always fed by myths and that the collectivesocial ritual serves as a disclosure mechanism for the playful. As a refutation of these views, it is argued that the Memorate phenomenon, which is defined in the field of Folklore in terms of its prioritization of myths and legends, has the primordiality of the Narrative apparatus, moreover, the collective  social ritual is essentially prioritized by individual ritual and the ontological ground should be marked in this direction. However, it is argued that an ontologically genuine and authentic Acting methodology can be created if the ground we advocate is accepted, and our view in this direction is defined as Memorate Acting in the form of an exemplary model, and it is proposed that it can be methodologized in the form of an acting methodology with an ontological ground by considering it both on the ontological plane and within the idea of Dasein, Martin Heideggers understanding of the philosophy of being.

 In terms of the World Theater and in this context the Art of Acting, we still see the lack of a technically grounded, ontologically determined organic-authentic acting methodtechnique as a problem for the Art of Acting. We call this soullessness in the sense of lack of transcendental thought. So much so that in the methodological approaches to the art of acting to date, the view that the source of theater originates from collective rituals as put forward by Cambridge anthropologists has caused everything about theater to be built on this ground. In this study, it is argued that there is an ontological groundlessness in all methodological approaches from the emergence of the profession of acting and the transformation of this profession into a technique in the form of a specific method until today. As the reason for such a groundlessness, attention was drawn to the view that the playful is always fed by myths and that the collectivesocial ritual serves as a disclosure mechanism for the playful. As a refutation of these views, it is argued that the Memorate phenomenon, which is defined in the field of Folklore in terms of its prioritization of myths and legends, has the primordiality of the Narrative apparatus, moreover, the collective  social ritual is essentially prioritized by individual ritual and the ontological ground should be marked in this direction. However, it is argued that an ontologically genuine and authentic Acting methodology can be created if the ground we advocate is accepted, and our view in this direction is defined as Memorate Acting in the form of an exemplary model, and it is proposed that it can be methodologized in the form of an acting methodology with an ontological ground by considering it both on the ontological plane and within the idea of Dasein, Martin Heideggers understanding of the philosophy of being.

 In terms of the World Theater and in this context the Art of Acting, we still see the lack of a technically grounded, ontologically determined organic-authentic acting methodtechnique as a problem for the Art of Acting. We call this soullessness in the sense of lack of transcendental thought. So much so that in the methodological approaches to the art of acting to date, the view that the source of theater originates from collective rituals as put forward by Cambridge anthropologists has caused everything about theater to be built on this ground. In this study, it is argued that there is an ontological groundlessness in all methodological approaches from the emergence of the profession of acting and the transformation of this profession into a technique in the form of a specific method until today. As the reason for such a groundlessness, attention was drawn to the view that the playful is always fed by myths and that the collectivesocial ritual serves as a disclosure mechanism for the playful. As a refutation of these views, it is argued that the Memorate phenomenon, which is defined in the field of Folklore in terms of its prioritization of myths and legends, has the primordiality of the Narrative apparatus, moreover, the collective  social ritual is essentially prioritized by individual ritual and the ontological ground should be marked in this direction. However, it is argued that an ontologically genuine and authentic Acting methodology can be created if the ground we advocate is accepted, and our view in this direction is defined as Memorate Acting in the form of an exemplary model, and it is proposed that it can be methodologized in the form of an acting methodology with an ontological ground by considering it both on the ontological plane and within the idea of Dasein, Martin Heideggers understanding of the philosophy of being.

 Dünya Tiyatrosu ve bu bağlamda Oyunculuk Sanatı açısından hala teknik bakımdan zemini olan, ontolojik belirlenimi yapılmış organik-otantik bir oyunculuk metodununtekniğinin olmamasını Oyunculuk sanatı adına bir problem olarak görmekteyiz. Biz buna aşkınsal düşünceden eksik olması anlamında ruhsuzluk diyoruz. Öyle ki bugüne kadar oyunculuk sanatına dair yöntemselmetodolojik yaklaşımlarda Tiyatronun kaynağının Cambridge antropologlarının ileri sürdüğü gibi kolektif ritüeller kaynaklı yönündeki görüşü, tiyatroya dair olan her şeyin bu zemin üzerinde inşa edilmesine sebebiyet vermiştir. Bu çalışmada Oyunculuk mesleği ve bu mesleğin tekniğe dönüştürülmesi bakımından muayyen bir yöntem biçiminde ortaya çıkışından günümüze kadar gelen tüm metodolojik yaklaşımlarda ontolojik açıdan zeminsizliğin mevcut olduğu görüşü savunulmuştur. Böylesi bir zeminsizliğin sebebi olarak da oyunsal olanın daima mitlerden beslendiği ve kolektiftoplumsal ritüelin oyunsal olana ifşa mekanizması hizmeti gördüğü görüşüne dikkat çekilmiştir. Bu yöndeki görüşlerin reddiyesi biçiminde ise mitleri ve efsaneleri öncelemesi bakımından Halkbilim alanında tanımı yapılmış Memorat olgunun Anlatı aygıtının ilkselliğine sahip olduğu dahası kolektiftoplumsal ritüeli ise esasında münferit ritüelin öncelediği görüşü savunularak ontolojik zeminin bu yönde işaretlenmesi gerekliliğine yer verilmiştir. Bununla birlikte savunduğumuz zeminin kabulünden hareket edildiği takdirde ontolojik açıdan sahici ve otantik bir Oyunculuk metodolojisi oluşturulabileceği görüşü ileri sürülerek bu yöndeki görüşümüz ise örnek bir model biçiminde Memorat Oyunculuk olarak tanımlanmış ve hem ontolojik düzlemde hem de Martin Heideggerin varlık felsefesi anlayışı olan Dasein düşüncesi dâhilinde ele alınarak ontolojik zemini olan bir oyunculuk metodolojisi biçiminde yöntemleştirilebileceği önerisinde bulunulmuştur.

Makale detayları

Ontological Unfoundedness in Acting Methods and Memorate Acting as a New Acting Method Proposal

Yazarlar:

Gürkan Korkmaz

Yayıncı:

Yakup YILMAZ

Ana Başlıklar:

Oyunculuk-Reji

Dergi:

RumeliDE Dil ve Edebiyat Araştırmaları Dergisi Issue 40, pp.478-496

Belge Tipi:

Makale

Yayın Tarihi:

6/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001320223

pISSN:

2148-7782

Acting

Theater

Memorate

DaseinOyunculuk

Tiyatro

Memorat

Dasein

Sayı

Makale detayları

Yazarlar: Gürkan Korkmaz

Yayıncı: Yakup YILMAZ

Ana Başlıklar: Oyunculuk-Reji

Dergi: RumeliDE Dil ve Edebiyat Araştırmaları Dergisi Issue 40, pp.478-496

Belge Tipi: Makale

Yayın Tarihi: 6/2024

Belge Dili: Türkçe

Document ID (Org No.): 2001320223

pISSN: 2148-7782

Sayı

Yazarlar:

Gürkan Korkmaz

Yayıncı:

Yakup YILMAZ

Ana Başlıklar:

Oyunculuk-Reji

Dergi:

RumeliDE Dil ve Edebiyat Araştırmaları Dergisi Issue 40, pp.478-496

Belge Tipi:

Makale

Yayın Tarihi:

6/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001320223

pISSN:

2148-7782