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

Year 2018, Volume: 5 Issue: 3, 33 - 60, 22.10.2018

Kürşad Demirutku Derya Ağaoğlu

https://doi.org/10.31682/ayna.424536

Cited By: 1

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

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