Browsing by Author "Suner, Levent"

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    Oyuncunun hareket potansiyelini geliştiren reji yöntemi ve bir uygulama: Slawomir Mrozek'in Eğlence adlı oyununun sahnelenmesi
    (Sosyal Bilimler Enstitüsü, 2011) Aybar, Servet Sibel; Suner, Levent; Tiyatro
    In this study, it is proposed a theatre directing method improves the movement potential of the actor. We departed from the idea that the stage movement is the basic determinant of the actor?s and so the director?s existence. We concentrated on time and space which are the parameters of movement and developed analysis playtext, directing and rehearsing method focusing on the movement.The first inspiration of the study is time and being philosophy of Heidegger. The thoughts considering movement in physics, architecture and theatre also supported the study. The movement laws of Newton, the relativity theory of Einstein, quantum physics, existential space of Norberg-Schulz and physical theatre were reviewed; the datum was correlated the rehearsing process. The methods of actor coach Eric Morris and director Anne Bogart were mentioned.A terminology focused on movement-time-space and rehearsing directions were developed, thinking that the director can increase the movement possibilities of the actor and hereby create the original stage performances. Then this method practiced in The Party written by Slawomir Mrozek. Via the rehearsing experiments and the datum, the method took its final shape.
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    Ses ve oyuncu
    (2004) Suner, Levent
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    Tiyatro oyunculuğunda ses ve konuşma eğitimi: Deneysel bir yaklaşım
    (Sosyal Bilimler Enstitüsü, 1997) Suner, Levent; And, Metin; Tiyatro (Oyunculuk)
    Voice is one of the important means of an actor/actress while creating a character. For that reason, the voice of an actor/actress should have the flexibility to interpret all kir, ils of characters. However, the efficiency of a voice has been lessened and limited in area due to many reasons. This research aims to free the actor's/actres' voice which had been repressed by physical and mental blockings, and to help liim/her to have an unlimited voice connected to emotions, and to show how to transform this skill into speech. This research consists of two main chapters: theoretical and practical. In the first cahpter, barriers that limit the voice have been described stage by stage: childhood, adolescence, and adulthood. This chapter also examines the relaxation of the body, breathing, voice and speech which are the basic phases of voice and speech education in theatre. Under the sub-heading of "Speech", Turkish phonetics and phonology have been anaylsed in detail. The second chapter is entirely about the practice. The stages of voice and speech education in theatre acting have been presented through some exercises. And finally the appendices include a detailed information on breathing muscles, photographs on the exercises described in chapter two, and the anatomical features of voice and speech organs.
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    Tiyatroda sahne dili olarak grotesk ve bir örnek uygulama: Masanın Altında (Roland Topor)
    (Sosyal Bilimler Enstitüsü, 2010) Tüzün, Zeki; Suner, Levent; Tiyatro
    Grotesque notion is firstly used as an archeological term. Using this term in art begins at the Renaissance. This word is literally used for interlaced ornamentation of human, plant and architectural elements. Afterwards, in other fields of art, it appears with violating its form and norms, and causes forming new and intermediate genres by seeping into dramatic genres. So, it becomes a term which is called with a lot of hybrid genre.Grotesque is constituted by using a lot of methods such as reversing, childishness, multilingual and using contrast in art objects. Especially in the art of theatre, a new and and unique theatrical language emerges by the created structues. The emerged theatrical language shows the beholder a grotesque world and this so called world is not a world ruled by the rules of "norms" but a twisted world ruled by the grotesque.Significant authors of theater history such as Jarry, Dürrenmatt, Büchner, Strindberg, Chekhov, Ionesco, Beckett, Fo, Müller and Topor used grotesque theatrical language in different ways in their works. Especially Topor, creating a grotesque burlesque with his work Under The Table, successfully converted the grotesque using all means of grotesque to a theatrical language.
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