Browsing by Subject "Acting."
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Item Open Access Aktörlere yönelik ses- konuşma- vücut eğitimi ve geliştirilmiş uygulama yöntemleri(Bilkent University, 2005) Adıgüzel, BernaThe 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.Item Open Access The body unmasked : the uncanny and masked acting(Bilkent University, 2001) Çakmak, GülruThe body is not only a natural conglomeration of different internal organs, but it is also the site around/on/through which narratives of subjectivity are constructed and deconstructed. The Freudian unheimlich, translated into English as ‘the uncanny’, transgresses the rules of signification established by such narratives. This study focuses on a particular play on the site of the body, i.e. the ‘body’ suggested by masked acting. Masked acting takes place within the structure of the uncanny in transgressing the discourse of the transcendent self based on the meaningfulness, expediency and unity of the ‘body’. The case study is the masks designed by Kuzgun Acar for Mehmet Ulusoy’s 1975 Théatre de Libérté production of Bertol Brecht’s The Caucasian Chalk Circle.Item Open Access Oyunculuk sanatında diksiyonun önemi ve rolü üzerinde bir metod çalışması(Bilkent University, 2001) Atasoy, FadikItem Open Access Shakespeare oyunlarındaki karakterlerin yorumunda diksiyon enerji ilişkisi(Bilkent University, 2005) Esen, CebrailWhile the plays of Shakespeare have been interpreted, many different forms have been seen within the comprehension of today’s theatre. These frequently bring free unfolding in the mutiny of postmodernism. Sometimes Lear may be in overcoat and Hamlet may be a black man sometimes. It has been observed that there is seeking of essence more than the form as an evaluation on the artistic quality of these approaches has been made. Essentially, interpreters don’t refuse what Shakespeare explained. What does the essence of Shakespeare mean according to the actors? What are the important points that the actors shouldn’t forget even in the form? How could the thing that made Shakespeare special appear while the actors are interpreting? Are the great interpretation skills of the successful Shakespeare actors secrets granted by the God? Or is it the full application of the chain of definable technical difficulties? If the analyses have been focused on the well known basic structure of Shakespeare’s plays, this lies on the perfection of language and fictional richness could be explained being based on the sources. The structure of tirades, fiction and scenes have been investigated according to the views of the experts and examples have been provided. In this direction, results on usage of the energy have been reached.