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dc.contributor.advisorGökçer, Cüneyten_US
dc.contributor.authorAdıgüzel, Bernaen_US
dc.date.accessioned2016-01-08T18:08:08Z
dc.date.available2016-01-08T18:08:08Z
dc.date.issued2005
dc.identifier.urihttp://hdl.handle.net/11693/14794
dc.descriptionAnkara : Bilkent Üniversitesi Müzik ve Sahne Sanatları Fakültesi Tiyatro Bölümü, 2005.en_US
dc.descriptionThesis (Master's) -- Bilkent University, 2005.en_US
dc.descriptionIncludes bibliographical references leaves 191-194.en_US
dc.description.abstractThe aim of this thesis is to suggest a system for the voice and speech training in drama schools. Different studying methods are presented in accordance with this aim. Undoubtedly, the methods are varied. Considering that there are some basic techniques that must be experienced by each student, many exercise sets are suggested insofar as it is possible. In this thesis, not only the methods which are known and carried out are arranged, but also new exercises are investigated and adapted to our language. Books on yoga and healthy life have also been useful for the body, breath and relaxation exercises. Exercises from the experts of voice and speech, Cicely Berry and Kristin Linklater, have been important sources. Techniques of Jerzy Grotowski, Frederick Matthias Alexander and Eric Morris have also been useful. Studying methods are prepared considering the suggestions and curriculums (syllabus) of these educators:Prof. David Smukler, Chairman of Voice and speech Department, York University; Brad Gibson and Hazal Selçuk, lecturers in York University; Prof. Tracey Moore, educator of voice and speech, Colombia University. Practicing methods for the actors are told step by step; more comprehensive methods are given later. It is known that an actors or a student who does not concern voice and speech training important would be monotonous, boring and unsuccesful. If an actor does not find out the real capacity of his own material, his talent begins to disappear. The reason might be physical obstacles, or not trying to overcome these obstacles, or being unaware of the methods that will help him to overcome them. Once the problem is determined –unless medical treatment is needed- practicing will be enough to handle the situation. Thus, this thesis claims that, in order to improve his voice capacity and have a vivid acting style, a drama student has to experience all available techniques, and considering his personal needs, he has to arrange his own practicing system. Productivity of an actor depends on his success on this level. The result would be free, wide, relaxed and vivid voice, which will help the actor improve his performance on the stage. There is no need to tell the importance of it for an actor.en_US
dc.description.statementofresponsibilityAdıgüzel, Bernaen_US
dc.format.extentxvi, 194 leaves, illustrationsen_US
dc.language.isoEnglishen_US
dc.rightsinfo:eu-repo/semantics/openAccessen_US
dc.subjectVoiceen_US
dc.subjectBreathen_US
dc.subjectDramaen_US
dc.subjectExercisesen_US
dc.subject.lccPN2071.S65 A35 2005en_US
dc.subject.lcshActing.en_US
dc.subject.lcshVoice culture--Exercises.en_US
dc.subject.lcshElocution.en_US
dc.subject.lcshMovement (Acting)en_US
dc.subject.lcshSpeech--Physiological aspects.en_US
dc.titleAktörlere yönelik ses- konuşma- vücut eğitimi ve geliştirilmiş uygulama yöntemlerien_US
dc.typeThesisen_US
dc.departmentDepartment of Performing Artsen_US
dc.publisherBilkent Universityen_US
dc.description.degreeM.S.en_US
dc.identifier.itemidBILKUTUPB110548


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