ON THE ORIGIN OF BUFFOON, A DRAMATIC TERRITORY IN LECOQ

Simel Keçicioğlu; Banu Ayten Akın

Makale detayları

ON THE ORIGIN OF BUFFOON, A DRAMATIC TERRITORY IN LECOQ

Yazarlar:

Simel Keçicioğlu | Banu Ayten Akın

Yayıncı:

Dokuz Eylul University

Ana Başlıklar:

Güzel Sanatlar

Dergi:

ArtDE Issue 2, pp.20-28

Belge Tipi:

Makale

Yayın Tarihi:

5/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001341173

pISSN:

3062-0864

Anahtar kelimeler:

Özet:

 In this article, the possible origin of the buffoon dramatic territory in the pedagogy of the International Theater School Jacques Lecoq has been researched. Buffoon is an important territory in Lecoq pedagogy with its unique form and conditions of play. It is an area where grotesque, mystical, fantastic elements are present and where physical work and improvisation progress together. Although the origin of the buffoon is not directly pointed out in Lecoq pedagogy, it contains important similar elements from the origin of the clown tradition. The fact that the original ground of the method applied in Lecoqs pedagogy has not been fully addressed raises some questions when it is applied in the education phase. This may lead to differences in bufon studies and applications, and sometimes confusion with the clown red nose technique as a technical form. For this reason, it was desired to investigate grounds that could be parallel to the possible historical origins of buffoons as they are applied in Lecoqs pedagogy. This research is qualitative research based on describing the concept from different perspectives and was conducted by scanning the literature on Lecoq and buffoon. For this purpose, pagan rituals, festivals and carnival culture from the Roman theater to the Late Middle Ages and the Renaissance were viewed. Elements such as the reversal of social hierarchy and the prominence of grotesque elements are already present in historical sources such as carnivals, rituals and the feast of fools. In the literature review, the physical deformation in buffoons shows parallelism with grotesque aesthetics. The unique elements of the buffoons, such as their transformation of the mask into a physical mask, their function of criticizing the norms in society, and their hierarchical and unique order, are similar to the form and content characteristics of historical carnivals. As a result of this parallel reading, many elements similar to the grotesque body understanding and clown culture of Lecoqs bufon territory were revealed.

 In this article, the possible origin of the buffoon dramatic territory in the pedagogy of the International Theater School Jacques Lecoq has been researched. Buffoon is an important territory in Lecoq pedagogy with its unique form and conditions of play. It is an area where grotesque, mystical, fantastic elements are present and where physical work and improvisation progress together. Although the origin of the buffoon is not directly pointed out in Lecoq pedagogy, it contains important similar elements from the origin of the clown tradition. The fact that the original ground of the method applied in Lecoqs pedagogy has not been fully addressed raises some questions when it is applied in the education phase. This may lead to differences in bufon studies and applications, and sometimes confusion with the clown red nose technique as a technical form. For this reason, it was desired to investigate grounds that could be parallel to the possible historical origins of buffoons as they are applied in Lecoqs pedagogy. This research is qualitative research based on describing the concept from different perspectives and was conducted by scanning the literature on Lecoq and buffoon. For this purpose, pagan rituals, festivals and carnival culture from the Roman theater to the Late Middle Ages and the Renaissance were viewed. Elements such as the reversal of social hierarchy and the prominence of grotesque elements are already present in historical sources such as carnivals, rituals and the feast of fools. In the literature review, the physical deformation in buffoons shows parallelism with grotesque aesthetics. The unique elements of the buffoons, such as their transformation of the mask into a physical mask, their function of criticizing the norms in society, and their hierarchical and unique order, are similar to the form and content characteristics of historical carnivals. As a result of this parallel reading, many elements similar to the grotesque body understanding and clown culture of Lecoqs bufon territory were revealed.

 In this article, the possible origin of the buffoon dramatic territory in the pedagogy of the International Theater School Jacques Lecoq has been researched. Buffoon is an important territory in Lecoq pedagogy with its unique form and conditions of play. It is an area where grotesque, mystical, fantastic elements are present and where physical work and improvisation progress together. Although the origin of the buffoon is not directly pointed out in Lecoq pedagogy, it contains important similar elements from the origin of the clown tradition. The fact that the original ground of the method applied in Lecoqs pedagogy has not been fully addressed raises some questions when it is applied in the education phase. This may lead to differences in bufon studies and applications, and sometimes confusion with the clown red nose technique as a technical form. For this reason, it was desired to investigate grounds that could be parallel to the possible historical origins of buffoons as they are applied in Lecoqs pedagogy. This research is qualitative research based on describing the concept from different perspectives and was conducted by scanning the literature on Lecoq and buffoon. For this purpose, pagan rituals, festivals and carnival culture from the Roman theater to the Late Middle Ages and the Renaissance were viewed. Elements such as the reversal of social hierarchy and the prominence of grotesque elements are already present in historical sources such as carnivals, rituals and the feast of fools. In the literature review, the physical deformation in buffoons shows parallelism with grotesque aesthetics. The unique elements of the buffoons, such as their transformation of the mask into a physical mask, their function of criticizing the norms in society, and their hierarchical and unique order, are similar to the form and content characteristics of historical carnivals. As a result of this parallel reading, many elements similar to the grotesque body understanding and clown culture of Lecoqs bufon territory were revealed.

 Bu makalede Uluslararası Tiyatro Okulu Jacques Lecoqun pedagojisinde yer alan bufon oyun sahasının olası kökeni araştırılmıştır. Bufon oyun sahası kendine has biçimiyle ve oyun koşullarıyla Lecoq pedagojisinde önemli bir oyun sahasıdır. Grotesk, mistik, fantastik unsurları barındıran, bedensel çalışmalarla doğaçlamanın birlikte ilerlediği bir sahadır. Lecoq pedagojisi içerisinde direkt olarak bufon oyun sahasının kökeni işaret edilmemekle birlikte soytarı geleneğinin kökeninden önemli benzer unsurlar barındırmaktadır. Lecoqun pedagojisi içerisinde uygulanan yöntemin kökensel olarak oturduğu zeminin tam olarak adreslenmemiş olması eğitim aşamasında uygulanırken bazı soruları da ortaya çıkarmaktadır. Bufon çalışmaları ve uygulamalarında farklılaşmalara, zaman zaman teknik biçim olarak clown kırmızı burun tekniğiyle karıştırılmasına da sebep olabilmektedir. Bu nedenle Lecoq pedagojisinde uygulandığı biçimi üzerinden bufonların olası tarihsel kökenleriyle paralel olabilecek zeminler araştırılmak istenmiştir. Bu araştırma kavramı farklı açılardan betimlemeye dayalı nitel bir araştırma olup Lecoq ve bufon üzerine literatür taranarak ilişkiler çözümlenerek gerçekleştirilmiştir. Roma tiyatrosundan, Geç Orta Çağ ve Rönesansa kadar olan ritüel, şenlik ve karnaval kültürüne bakılmıştır. Toplumsal hiyerarşinin tersine işlemesi ve grotesk unsurların öne çıkması gibi unsurlar tarihteki karnavallar, ritüeller ve aptallar bayramı gibi kaynaklarda kendine yer bulmaktadır. Yapılan literatür taramasında bufonlardaki bedensel deformasyon, grotesk estetikle paralellik göstermektedir. Bufonların maskeyi bedensel bir maskeye dönüştürmesi, toplumdaki normları eleştirme işlevi, hiyerarşik kendine has bir düzene sahip olmaları gibi kendine has unsurlar tarihteki karnavalların biçim ve içerik özellikleriyle benzerlik göstermektedir. Bu paralel okuma sonucunda Lecoqun bufon oyun sahasının grotesk beden anlayışı ve soytarı kültürüyle benzer pek çok ögesi ortaya konmuştur.

Makale detayları

ON THE ORIGIN OF BUFFOON, A DRAMATIC TERRITORY IN LECOQ

Yazarlar:

Simel Keçicioğlu | Banu Ayten Akın

Yayıncı:

Dokuz Eylul University

Ana Başlıklar:

Güzel Sanatlar

Dergi:

ArtDE Issue 2, pp.20-28

Belge Tipi:

Makale

Yayın Tarihi:

5/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001341173

pISSN:

3062-0864

Lecoq

Buffoon

Carnival

Feast of Fools

GrotesqueLecoq

Bufon

Karnaval

Aptallar Bayramı

Grotesk

Sayı

Makale detayları

Yazarlar: Simel Keçicioğlu | Banu Ayten Akın

Yayıncı: Dokuz Eylul University

Ana Başlıklar: Güzel Sanatlar

Dergi: ArtDE Issue 2, pp.20-28

Belge Tipi: Makale

Yayın Tarihi: 5/2025

Belge Dili: Türkçe

Document ID (Org No.): 2001341173

pISSN: 3062-0864

Sayı

Yazarlar:

Simel Keçicioğlu | Banu Ayten Akın

Yayıncı:

Dokuz Eylul University

Ana Başlıklar:

Güzel Sanatlar

Dergi:

ArtDE Issue 2, pp.20-28

Belge Tipi:

Makale

Yayın Tarihi:

5/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001341173

pISSN:

3062-0864