Tiyatro İzleyicisinin Akış Deneyimi: Duygudurumların Çeşitliliği, Yoğunluğu ve Değerliği Hipotezlerinin Sınanması

Abstract

Bu çalışmanın amacı tiyatro izleyicisinin akış ve ilişkili duygudurum deneyimlerini incelemektir. İlgili alanyazından hareketle oyun sırasındaki akış deneyiminin daha çeşitli, daha yoğun ve daha olumlu duygu deneyimiyle ilişkili olacağı hipotezleri önerilmiştir. Ankara’daki özel bir tiyatroda Gideon’un Düğümü (Adams, 2013) adlı tiyatro oyununu izlemeye gelen 146 gönüllü katılımcıya oyunun hemen bitiminde bu araştırmaya özel tasarlanan ölçekler uygulanmıştır. Bulgular, izleyicilerin tiyatro oyunu sırasında yüksek düzeyde akış deneyimlediğini göstermiş ve araştırmanın hipotezlerini çoğunlukla desteklemiştir. Beklenmedik bazı bulgular da hesaba katılarak tiyatro izleyicisinin öznel deneyimini akış kavramı ile açıklayan bir model önerilmiştir. Sonuçlar, araştırmanın yöntemsel sınırlılıkları ve alternatif açıklamalar çerçevesinde, sanat eserlerinin psikoterapi bağlamında kullanılmasına yönelik doğurguları ile birlikte tartışılmıştır.

Keywords

• akış
• duygudurumlar
• tiyatro izleyicisi
• sanat psikolojisi
• psikoterapi

Flow Experience of the Theatre Audience: Testing the Affective Variety, Intensity, and Valence Hypotheses

Abstract

Purpose of the present study was to investigate the flow and related affective experience of the theatre audience. The hypotheses that flow experience at the time of play would be associated with highly varied, more intense, and more positive affective experience were proposed on the basis of the relevant literature. Immediately after the play was over, scales which were specifically designed for the present study were administered to 146 voluntary participants who came to watch the play entitled Gideon’s Knot (Adams, 2013) staged in a private theatre in Ankara. Findings indicated that the audience experienced high level of flow at the time of the play and mostly supported the hypotheses of the study. A model which explained the subjective experience of the theatre audience by the concept of flow was proposed also by taking some unexpected findings into account. Results were discussed within the framework of methodological limitations of the study and alternative explanations together with the implications regarding utilization of artistic products in psychotherapy context.

Keywords

• flow
• affective states
• theatre audience
• psychology of art
• psychotherapy

References

1. Algina, J., & Olejnik, S. (2003). Sample size tables for correlation analysis with applications in partial correlation and multiple regression analysis. Multivariate Behavioral Research, 38, 309-323. doi: 10.1207/S15327906MBR3803_02
2. Adams, J. (2013). Gideon’s Knot. New York, NY: Dramatists Play Service.
3. Aronson, E., & Mills, J. (1959). The effect of severity of initiation on liking for a group. Journal of Abnormal and Social Pychology, 59, 177-181. doi: 10.1037/h0047195
4. Bakker, A. (2008). The work-related flow inventory: Construction and initial validation of the WOLF. Journal of Vocational Behavior, 72, 400-414. doi: 10.1016/j.jvb.2007.11.007
5. Bakker, A., Golub, T., & Rijavec, M. (2017). Validation of the study-related flow inventory (WOLF-S). Croatian Journal of Education, 19, 147-173. doi: 10.15516/cje.v19i1.2194
6. Bradley, M., & Lang, P. (1994). Measuring emotion: The self-assessment manikin and the semantic differantial. Journal of Behavioral Therapy & Experiential Psychiatry, 25, 49-59. doi: 10.1016/0005-7916(94)90063-9
7. Cohen, J. (1988). Statistical power analysis for the behavioral sciences (2. baskı). Hillsdale, NJ: Lawrence Erlbaum Associates.
8. Csikszentmihalyi, M. (2014). Toward a psychology of optimal experience. M. Csikszentmihalyi (Der.), Flow and the foundations of positive psychology: The collected works of Mihalyi Csikszentmihalyi (s. 209-226) içinde. Dordrecht: Springer.

9. Csikszentmihalyi, M. (1990). Flow: The psychology of optimal experience. NY: Harper Perennial.
10. Csikszentmihalyi, M. (1997). Finding flow: The psychology of engagement with everyday life. NY: Basic Books.
11. Csikszentmihalyi, M., & Asakawa, K. (2016). Universal and cultural dimensions of optimal experiences. Japanese Psychological Research, 58, 4-13. doi:10.1111/jpr.12104
12. Csikszentmihalyi, M., & LeFevre, J. (1989). Optimal experience in work and leisure. Journal of Personality and Social Psychology, 56, 815-822. doi:10.1037/0022-3514.56.5.815
13. Csikszentmihalyi, M., & Moneta, G. B. (1996). The effect of perceived challenges and skills on the quality of subjective experience. Journal of Personality, 64, 275-310. doi: 10.1111/j.1467-6494.1996.tb00512.x
14. Csikszentmihalyi, M., & Nakamura, J. (1999). Emerging goals and the self-regulation of behavior. C. S. Carver & M. F. Scheier (Der.) Perspectives on Behavioral Self-Regulation: Advances in Social Cognition (Vol. 12, pp. 107-118) içinde. Mahwah, NJ: Lawrence Erlbaum Associates.
15. Custodero, L. (1998). Observing flow in young children’s music learning. General Music Today, 12, 21-27. doi: 10.1177/104837139801200106
16. Custodero, L. (2002). Seeking challange, finding skill: Flow experience and music education. Art Education Policy Review, 103, 3-9. doi: 10.1080/10632910209600288
17. Duval, S., & Wicklund, R. A. (1972). A theory of objective self-awareness. NY: Academic Press.
18. Festinger, L., & Carlsmith, J. M. (1959). Cognitive consequences of forced compliance. Journal of Abnormal and Social Psychology, 47, 382-389. doi: 10.1037/h0033627
19. Freud, S. (2016). Sanat ve Sanatçılar Üzerine (Çev. Kâmuran Şipal). İstanbul: Yapı Kredi.
20. Hesley, J. W., & Hesley, J. G. (2001). Rent two films and let’s talk in the morning: Using popular moviesin psychotherapy. NY: John Wiley & Sons.
21. Hevner, K. (1936). Experimental studies of the elements of expression in music. American Journal of Psychology, 48, 246-268. doi: 10.2307/1415746
22. Jackson, S., & Marsh, H. (1996). Development and validation of a scale to measure experience: The flow state scale. Journal of Sport & Exercise Psychology, 18, 17-35. doi: 10.1123/jsep.18.1.17
23. Jung, C. G. (2017). Ruh: İnsan, sanat, edebiyat (Çev. İsmail Hakkı Yılmaz). İstanbul: Pinhan.
24. Lampropoulos, G. K., Kazantzis, N., & Deane, F. P. (2004). Psychologists’ use of motion pictures in clinical practice. Professional Psychology: Research and Practice, 35, 535-541. doi: 10.1037/0735-7028.35.5.535
25. Larson, R., & Csikszentmihalyi, M. (1987). Validity and reliability of the experience sampling method. Journal of Nervous and Mental Disease, 175, 526-536. doi: 10.1097/00005053-198709000-00004
26. Lenkowsky, R. S. (1987). Bibliotherapy: A review and analysis of the literature. Journal of Special Education, 21, 123-132. doi: 10.1177/002246698702100211
27. Lorr, M., McNair, D., & Fisher, S. (1982). Evidence for bipolar mood states. Journal of Personality Assessment, 46, 432-436. doi: 10.1207/s15327752jpa4604_16
28. Martin, J. J., & Cutler, K. (2002). An exploratory study of flow and motivation in theater actors. Journal of Applied Sport Psychology, 14, 344-352. doi: 10.1080/10413200290103608
29. Maslow, A. (1974). Creativity in self-actualizing people. T. M. Covin (Der.), Readings in human development: A humanistic approach (s. 106-117). NY: MSS Information Corporation.
30. Massimini, F., Csikszentmihalyi, M., & Carl, M. (1987). The monitoring of optimal experience: A tool for psychiatric rehabilitation. Journal of Nervous and Mental Disease, 175, 545-549. doi: 10.1097/00005053-198709000-00006
31. Moneta, G. (2012). Opportunity for creativity in the job as a moderator of the relation between trait intrinsic motivation and flow in work. Motivation and Emotion, 36, 491-503. doi: 10.1007/s11031-012-9278-5
32. Moneta, G., & Csikszentmihalyi, M. (1996). The effect of perceived challenges and skills on the quality of subjective experience. Journal of Personality, 64, 275-310. doi: 10.1111/1467-6494.ep9606164110
33. Nakamura, J., & Csikszentmihalyi, M. (2014). The concept of flow. M. Csikszentmihalyi (Der.), Flow and the foundations of positive psychology: The collected works of Mihalyi Csikszentmihalyi (s. 239-263) içinde. Dordrecht: Springer.
34. Newton, A. K. (1995). Silver screens and silver linings: Using theater to explore feelings and issues. Gifted Child Today, 18, 14-43. doi: 10.1177/107621759501800206
35. Rheinberg, F. (2008). Flow: Performance and moderators of challange-skill balance. Motivation and Emotion, 32, 158-172. doi: 10.1007/s11031-008-9102-4
36. Schimmack, U., & Diener, E. (1997). Affect intensity: Seperating intensity and frequency in repedately measured affect. Journal of Personality and Social Psychology, 73, 1313-1329. doi:10.1037/0022-3514.73.6.1313
37. Sharp, C., Smith, J. V., & Cole, A. (2002). Cinematherapy: Metaphorically promoting therapeutic change. Counselling Psychology Quarterly, 15, 269-276. doi: 10.1080/09515070210140221
38. Vygotsky, L. S. (1971). The psychology of art. MA: M.I.T. Press.
39. Walker, C. (2010). Experiencing flow: Is doing it together better than doing it alone? Journal of Positive Psychology, 5, 3-11. doi: 10.1080/17439760903271116
40. Watson, D., & Clark, L. A. (1999). The PANAS-X: Manual for the positive and negative affect schedule – expanded form. IA: Iowa State University.
41. Watson, D., Clark, L. A., & Tellegen, A. (1988). Development and validation of brief measures of positive and negative affect: The PANAS scales. Journal of Personality and Social Psychology, 54, 1063-1070. doi: 10.1037/t03592-000
42. Wedding, D., & Niemiec, R. M. (2003). The clinical use of films in psychotherapy. Journal of Clinical Psychology, 59, 207-215. doi: 10.1002/jclp.10142
43. Willcox, G. (1982). The feeling wheel: A tool for expanding awareness of emotions and increasing spontaneity and intimacy. Transactional Analysis Journal, 12, 274-276. doi: 10.1177/036215378201200411
44. Zuckerman, M., Lubin, B., & Rinck, M. (1983). Construction of new scales for the multiple affect adjective checklist. Journal of Behavioral Assessment, 5, 119-129. doi: 10.1007/BF01321444