Öz
The phonomenon of gamification and character-building is constantly evolving and transforming. With
the advancement of technology, narrative structures and means, individuals have expanded their ability to
construct fictional universes. New stages have been created in cyberspace through the use of multimedia tools
that were once used in theatre, cinema, and other areas of visual narration mediums. Social media platforms
now provide individuals with the opportunity to create their own stages and express themselves in reshaped
and narcissistic, ironic and critical ways. Through various filters and masks, users can rebuild themselves
in digital public environments. This research draws a comparison between Commedia Dell’Arte masks and
Instagram filters to analyze the theatrical effects of digital space as a stage for individuals in everyday life from
a conceptual perspective.
Within the scope of the research, two hypotheses will be tested. Firstly, the technical opportunities offered by
new media platforms have significant impact on the individual’s ability to create their own stage. Secondly,
the characteristics of comedy in the historical Commedia DellArte culture still exists in today’s digital world.
Anahtar Kelimeler
Kaynakça
- Aristotle (2007). Poetics. (trans. Ismail Tunali). Ankara: Remzi Bookstore.
- Arslan, G., (2019). Goldoni and Commedia Dell Arte in Italian Theatre. Ankara University Institute of Social Sciences, Unpublished Master’s Thesis, Ankara.
- Burston, J. (1998). Theatre Space As Virtual Place: Audio Technology, the Reconfigured Singing Body, and the Mega Musical. Popular Music, 17(2), 205-218.
- Cinisli, S., (2015). Type and Costume in Commedia dell’arte Theatre, Academic Journal of Social Research, Istanbul, Asos Publications.
- Dixon, S., (2007). Digital Performance: A History of New Media in Theatre, Dance, Performance Art, and Installation, Cambridge: MIT Press.
- Fava, A. (2004). The Comic Mask in the Commedia dell’Arte. L’Aquila (Italian): GTE.
- Hadley, B. (2017). Social Media as Theatre Stage: Aesthetics, Affordances, and Interactivities. In Theatre, social media, and Meaning Making (pp. (53; 112)’ Palgrave Macmillan.
- Jensen Schau, H., and Gilly, M. C. (2003). We Are What We Post? Self-Presentation in Personal Web Space. Journal of consumer research, 30(3), 385-404.
- Johnson, D. (2012). Theatre and the Visual. Macmillan International Higher Education.
- Lavender, A. (2016). Performance in the twenty-first century: Theatres of engagement. Routledge.
- Lonergan, P. (2015). Theatre and social media. Macmillan International Higher Education.
- Nelson, S. (1989). Redecorating the fourth wall: Environmental theatre today. TDR (1988-), 33(3), 72-94.
- Román, D. (2001). Editor’s Comment: Theatre and Visual Culture. Theatre Journal.
- Rosenberg, M., (1986). Conceiving the Self. Malabar, FL: Robert E. Krieger.
- Rudlin, J. (2000). Commedia dell’Arte Handbook for Gamers. (Translated by. E. İpekli Translated by Istanbul: Mitos Size Publications.
- Şener, S., (2008). Dünden Bugüne Tiyatro Fikri, Dost Yayınları, Ankara.
- Stainless, I. & Narmanlioglu, H. (2020). Presentation of the Self in Instagram Stories: A Study on Influencers. AJIT-e: Online Journal of Information Technologies, 10 (39), 23-51. DOI: 10.5824/ajit-e.2019.04.00.
- Wiles, D. (2004). The masks of Menander: sign and meaning in Greek and Roman performance. Cambridge University Press.
- Yalcinkaya, H. (2015). Formation of the Private Military Sector and Privatization of Wars. Ankara University Journal of SBF, 61 (3), 247-277
Öz
Oyunlaştırma ve karakter oluşturma süreci devamlı değişen bir olgudur. Teknolojik olanakların ve anlatı
yapılarının, araçlarının değişimi ile bireylerin kurmaca evrenler kurma olanağı da genişlemiştir. Teknoloji
ile bireylerin siber uzamda inşa ettikleri yeni oyun alanları oluşmuştur. Tiyatro, sinema ve görsel anlatının
diğer alanlarında yaygın olarak kullanılan multimedya araçları web 2.0 sonrası gündelik hayata da yayılmaya
başladı. Bu anlamda sosyal medya mecralarındaki anlatı olanakları insanların kendi oyun alanlarını
oluşturmasın olanak sağlamış oldu. Özellikle de belirli uygulamalar bu tür teknik altyapıları ile bireyin
kendi oyununu oluşturmasında, kendisinin sıradanın dışında, karakterize edilmiş, yeniden biçimlenmiş ve
narsisizmle, ironi, eleştiri arasındaki bir yakıştırma ile yeniden inşa etme olanağı sunmuştur. Kullanıcılar
djital ortamlardaki kamusal alanlarda kendilerini sosyal medyada bulunan farklı filtrelerle yeniden inşa
etmektedir. Araştırma kapsamında da Comedia Dell Arte maskeleri ve İnstagram filtreleri arasında
karşılaştırma yapılmıştır. Gündelik hayatta bireyin oyun alanı olan dijital mekân ve tiyatral etkiler kavramsal
perspektiften çözümlenmiştir.
Bu araştırma kapsamında iki hipotez kanıtlamaya çalışacağız. Araştırma kapsamında yeni medya mecralarının
sunduğu teknik olanaklar sonucu bireyin kendi oyun alanını yaratmada güçlü etkiler ve olanaklar sunduğu
görülmektedir. Aynı zamanda, günümüz sosyal medyalarında üretilen komiğin özellikleri ile tarihi Commedia
Dell’ Arte kültürünün ortak özellikleri saptanmıştır.
Anahtar Kelimeler
Kaynakça
- Aristotle (2007). Poetics. (trans. Ismail Tunali). Ankara: Remzi Bookstore.
- Arslan, G., (2019). Goldoni and Commedia Dell Arte in Italian Theatre. Ankara University Institute of Social Sciences, Unpublished Master’s Thesis, Ankara.
- Burston, J. (1998). Theatre Space As Virtual Place: Audio Technology, the Reconfigured Singing Body, and the Mega Musical. Popular Music, 17(2), 205-218.
- Cinisli, S., (2015). Type and Costume in Commedia dell’arte Theatre, Academic Journal of Social Research, Istanbul, Asos Publications.
- Dixon, S., (2007). Digital Performance: A History of New Media in Theatre, Dance, Performance Art, and Installation, Cambridge: MIT Press.
- Fava, A. (2004). The Comic Mask in the Commedia dell’Arte. L’Aquila (Italian): GTE.
- Hadley, B. (2017). Social Media as Theatre Stage: Aesthetics, Affordances, and Interactivities. In Theatre, social media, and Meaning Making (pp. (53; 112)’ Palgrave Macmillan.
- Jensen Schau, H., and Gilly, M. C. (2003). We Are What We Post? Self-Presentation in Personal Web Space. Journal of consumer research, 30(3), 385-404.
- Johnson, D. (2012). Theatre and the Visual. Macmillan International Higher Education.
- Lavender, A. (2016). Performance in the twenty-first century: Theatres of engagement. Routledge.
- Lonergan, P. (2015). Theatre and social media. Macmillan International Higher Education.
- Nelson, S. (1989). Redecorating the fourth wall: Environmental theatre today. TDR (1988-), 33(3), 72-94.
- Román, D. (2001). Editor’s Comment: Theatre and Visual Culture. Theatre Journal.
- Rosenberg, M., (1986). Conceiving the Self. Malabar, FL: Robert E. Krieger.
- Rudlin, J. (2000). Commedia dell’Arte Handbook for Gamers. (Translated by. E. İpekli Translated by Istanbul: Mitos Size Publications.
- Şener, S., (2008). Dünden Bugüne Tiyatro Fikri, Dost Yayınları, Ankara.
- Stainless, I. & Narmanlioglu, H. (2020). Presentation of the Self in Instagram Stories: A Study on Influencers. AJIT-e: Online Journal of Information Technologies, 10 (39), 23-51. DOI: 10.5824/ajit-e.2019.04.00.
- Wiles, D. (2004). The masks of Menander: sign and meaning in Greek and Roman performance. Cambridge University Press.
- Yalcinkaya, H. (2015). Formation of the Private Military Sector and Privatization of Wars. Ankara University Journal of SBF, 61 (3), 247-277
Ayrıntılar
| Birincil Dil | İngilizce |
|---|---|
| Konular | Ekran ve Dijital Medya (Diğer) |
| Bölüm | Makaleler |
| Yazarlar | |
| Yayımlanma Tarihi | 15 Haziran 2023 |
| Yayımlandığı Sayı | Yıl 2023 Cilt: 13 Sayı: 1 |
