dc.contributor.advisor | Gökçer, Cüneyt | |
dc.contributor.author | Adıgüzel, Berna | |
dc.date.accessioned | 2016-01-08T18:08:08Z | |
dc.date.available | 2016-01-08T18:08:08Z | |
dc.date.issued | 2005 | |
dc.identifier.uri | http://hdl.handle.net/11693/14794 | |
dc.description | Ankara : Bilkent Üniversitesi Müzik ve Sahne Sanatları Fakültesi Tiyatro Bölümü, 2005. | en_US |
dc.description | Thesis (Master's) -- Bilkent University, 2005. | en_US |
dc.description | Includes bibliographical references leaves 191-194. | en_US |
dc.description.abstract | The 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.statementofresponsibility | Adıgüzel, Berna | en_US |
dc.format.extent | xvi, 194 leaves, illustrations | en_US |
dc.language.iso | English | en_US |
dc.rights | info:eu-repo/semantics/openAccess | en_US |
dc.subject | Voice | en_US |
dc.subject | Breath | en_US |
dc.subject | Drama | en_US |
dc.subject | Exercises | en_US |
dc.subject.lcc | PN2071.S65 A35 2005 | en_US |
dc.subject.lcsh | Acting. | en_US |
dc.subject.lcsh | Voice culture--Exercises. | en_US |
dc.subject.lcsh | Elocution. | en_US |
dc.subject.lcsh | Movement (Acting) | en_US |
dc.subject.lcsh | Speech--Physiological aspects. | en_US |
dc.title | Aktörlere yönelik ses- konuşma- vücut eğitimi ve geliştirilmiş uygulama yöntemleri | en_US |
dc.type | Thesis | en_US |
dc.department | Department of Performing Arts | en_US |
dc.publisher | Bilkent University | en_US |
dc.description.degree | M.S. | en_US |
dc.identifier.itemid | BILKUTUPB110548 | |