Araştırma Makalesi
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Süreçsel Drama ile Kolektif Bir Duygu İnşa Etmek

Yıl 2024, Cilt: 9 Sayı: 16, 181 - 202, 30.06.2024
https://doi.org/10.55004/tykhe.1445887

Öz

Süreçsel drama çalışmalarında duygular dramatik kurgunun inşa edilmesinde önemli bir yer tutar. Katılımcılar bu çalışmalarda farklı rollere girerler, çeşitli doğaçlamalar yaparlar. Süreçsel dramadaki her adım katılımcıların drama kolaylaştırıcıyla kolektif biçimde inşa ettikleri duygudan doğrudan ya da dolaylı biçimde beslenir. Bu nedenle katılımcıların bireysel duygularının, grubun kolektif duygusunun süreçsel drama çalışmalarını yönlendiren önemli bir kaynak olduğu söylenebilir. Süreçsel drama çalışması yalnızca kurmaca bir zemindeki karakterlere yönelik duyguları değil aynı zamanda katılımcıların gerçek yaşamdaki duygularını dramatik kurgunun bir parçası haline getirir. Katılımcılar role girerek dramatik kurgudaki bir karakterin neler hissettiğini keşfeder, bu karakterle empati kurar. Süreçsel dramadaki duygusal katılım aynı zamanda katılımcıların duygusal ve düşünsel açıdan toplumsal olana içkin inşa edilen mesafeleri gözden geçirmeleri konusunda fırsatlar yaratır. Bu araştırmanın amacı bir süreçsel drama çalışmasında duyguların dramatik kurguyu ve katılımcıları nasıl yönlendirdiğine ve katılımcıların bireysel duygusuna, grubun kolektif duygusuna ve dramatik kurgunun duygusuna yönelik sanatsal bir perspektif oluşturmaktır. Aynı zamanda duygusal mesafe ve koruma konusunda duyguların işlevine yönelik yeni bakış açıları geliştirmektir. Bu amaçla süreçsel dramada katılımcıların duygularını doğrudan ya da dolaylı etkileyen dramatik kurgu, rol, doğaçlama, duygu, empati, duygusal mesafe, yabancılaşma ve koruma gibi kavramlar üzerinde durulmuş, süreçsel dramanın toplumsal sorunlara yönelik kolektif bir duygu inşasındaki rolü tartışmaya açılmıştır.

Etik Beyan

Araştırma süresince etik ilkelere uygun hareket edilmiştir.

Kaynakça

  • Ackroyd, J. (2007). Real play, real feelings and issues of protection: Drama in education beyond the classroom. NJ: Drama Australia Journal, 31(1), 23-32. https://doi.org/10.1080/14452294.2007.11649506 Adıgüzel, Ö. (2019). Eğitimde yaratıcı drama. Yapı Kredi Yayınları.
  • Berman, M. (2021). Katı olan her şey buharlaşıyor. (B. Peker, Ü. Altuğ, Çev.). İletişim Yayınları.
  • Brecht, B. ve Bently, E. (1961). On Chinese acting. The Tulane Drama Review, 6(1), 130-136. https://www.jstor.org/stable/1125011
  • Boal, A. (1995). The rainbow of desire: The Boal method of theatre and therapy. Routledge.
  • Bolton, G. (1985). Changes in thinking about drama in education. Theory Into Practice, 24(3), 151-157. http://www.jstor.org/stable/1477034
  • Bolton, G. M. (1984). Drama as education: An argument for placing drama at the centre of the curriculum. Longman.
  • Bolton, G. M. (1979). Towards a theory of drama in education. Longman.
  • Brockett, O. G. ve Ball, R. J. (2018). Tiyatronun temelleri. (M. Akşehir, Çev.). Karakalem Kitabevi Yayınları.
  • Cain, M. (2019). “But it wouldn’t be me”: Exploring empathy and compassion for self and others through creative processes. G. Barton and S. Garvis (Eds.). Compassion and empathy in educational contexts içinde (39-57). Palgrave Macmillan. https://doi.org/10.1007/978-3-030-18925-9_3
  • Davis, J.L. ve Love, T.P. (2017). Self-in-self, mind-in-mind, heart-in-heart: The future of role-taking, perspective taking, and empathy. Advances in Group Processes, 34, 151-174. https://doi.org/10.1108/S0882-614520170000034007
  • Dunn, J. (2016). Demystifying process drama: Exploring the why, what, and how. NJ: Drama Australia Journal, 40(2), 127-140. https://doi.org/10.1080/14452294.2016.1276738
  • Dunn, J, Bundy, P. ve Stinson, M. (2020). Process drama in five international contexts: Considering emotional responses and dramatic structuring. Applied Theatre Research, 8(2), 177–195. https://doi.org/10.1386/atr_00037_1
  • Dunn, J., Bundy, P., ve Stinson, M. (2015). Connection and commitment: Exploring the generation and experience of emotion in a participatory drama. International Journal of Education & the Arts, 16(6), 1-21. http://www.ijea.org/v16n6/
  • Eriksson, S. A. (2011). Distancing. S. Shonmann (Ed.). Key concepts in theatre/drama education içinde (65-71). Sense Publishers.
  • Eriksson, S. A. (2009). Distancing at close range: Investigating the significance of distancing in drama education [Unpublished doctoral dissertation]. Åbo Academy University.
  • Eriksson, S. A. (2007). Distance and awareness of fiction-exploring the concepts. NJ: Drama Australia Journal, 31(1), 5-22. https://doi.org/10.1080/14452294.2007.11649505
  • Freebody, K. (2010). Exploring teacher–student interactions and moral reasoning practices in drama classrooms. Research in Drama Education: The Journal of Applied Theatre and Performance, 15(2), 209-225. https://doi.org/10.1080/13569781003700094
  • Goodwin, J. ve Deady, R. (2013). The art of mental health practice: The role of drama in developing empathy. Perspectives in Psychiatric Care, 49, 126-134. https://doi.org/10.1111/ppc.12004
  • Heathcote, D. (1984). Collected writings on education and drama (L. Johnson ve C. O'Neill., Eds.). Heinemann.
  • Karaosmanoğlu, G. (2024). Looking at cyberbullying from different perspectives and roles: An online process drama research with Turkish participants. Research in Drama Education: The Journal of Applied Theatre and Performance, 1-20. https://doi.org/10.1080/13569783.2024.2360087
  • Keen, S. (2006). A theory of narrative empathy. Narrative, 14(3), 207–236. http://www.jstor.org/stable/20107388
  • Liu, J. (2002). Process drama in second and foreign language classrooms. G. Bräuer (Ed.). Body and language: Intercultural learning through drama içinde (51-70). Ablex Publishing.
  • McDonagh, F. ve Finneran, M. (2017). The teacher as co-creator of drama: A phenomenological study of the experiences and reflections of Irish primary school teachers. Irish Educational Studies, 36(2), 169-183. https://doi.org/10.1080/03323315.2017.1324806
  • O’Neill, C. (1995). Drama worlds. A framework for process drama. Heinemann.
  • O'Neill, C. (1991). Artists and models: Theatre teachers for the future. Design for Arts in Education, 92(4), 23-27. https://doi.org/10.1080/07320973.1991.9934847
  • O'Toole, J. (1992). The process of drama: Negotiating art and meaning. Routledge.
  • Piazzoli, E. (2010). Process drama and intercultural language learning: An experience of contemporary Italy. Research in Drama Education: The Journal of Applied Theatre and Performance, 15(3), 385-402. https://doi.org/10.1080/13569783.2010.495272
  • Piazzoli, E. ve Kennedy, C. (2014). Drama: Threat or opportunity? Managing the ‘dual affect’ in process drama. Scenario: A Journal of Performative Teaching, Learning, Research, 8(1), 52-68. https://doi.org/10.33178/scenario.8.1.5
  • Rosenbaum, J. (2023, Ekim 27). The revolution has been televised [Peter Watkins’ LA COMMUNE]. Jonothan Rosenbaum. https://jonathanrosenbaum.net/2023/10/the-revolution-has-been-televised/ (Orijinal çalışmanın basım tarihi 2002, Mayıs 17)
  • Watkins, P. (Yönetmen). (2000). La Commune (Paris, 1871) [Film]. ABD: Icarus Films.
  • Way B. (1967). Development through drama. Humanity Books.
  • Wells, T., Sandretto, S. ve Tilson, J. (2023). Learning “what it’s like to be someone else apart from yourself”: Developing holistic empathy with process drama. Pedagogy, Culture & Society, 31(4), 809-825. https://doi.org/10.1080/14681366.2021.1949633
  • Zillmann, D. (1995). Mechanisms of emotional involvement with drama. Poetics, 23(1–2), 33-51. https://doi.org/10.1016/0304-422X(94)00020-7

Building a Collective Emotion with Process Drama

Yıl 2024, Cilt: 9 Sayı: 16, 181 - 202, 30.06.2024
https://doi.org/10.55004/tykhe.1445887

Öz

Emotions play a significant role in the construction of dramatic fiction within process drama studies. Participants in these studies take on different roles and make various improvisations. Every step in process drama benefits directly or indirectly from the emotion collectively constructed by the participants and the drama leader. Therefore, it can be argued that personal emotions of the participants and the collective emotion of the group are important sources which lead process drama studies. Process drama makes not only the emotions towards characters in a fictional basis but also participants’ real-life emotions a part of the dramatic fiction. Participants discover how a character in the dramatic fiction feels and they empathize with this character by entering into the role. Emotional involvement in process drama, at the same time, creates opportunities for participants to examine emotionally and intellectually constructed distances inherent in the social. The aim of this study is to create an artistic perspective on how emotions direct the dramatic fiction and the participants, and on the individual emotion of the participants, the collective emotion of the group and the emotion of the dramatic fiction in a process drama workshop. It also aims to create new perspectives on the function of emotions regarding emotional distance and protection. For this end, concepts such as dramatic fiction, role, improvisation, emotion, empathy, emotional distance and protection, which directly or indirectly affect the emotions of the participants in a dramatic fiction, are emphasized, and the role of process drama in the construction of a collective emotion towards social problems is discussed.

Kaynakça

  • Ackroyd, J. (2007). Real play, real feelings and issues of protection: Drama in education beyond the classroom. NJ: Drama Australia Journal, 31(1), 23-32. https://doi.org/10.1080/14452294.2007.11649506 Adıgüzel, Ö. (2019). Eğitimde yaratıcı drama. Yapı Kredi Yayınları.
  • Berman, M. (2021). Katı olan her şey buharlaşıyor. (B. Peker, Ü. Altuğ, Çev.). İletişim Yayınları.
  • Brecht, B. ve Bently, E. (1961). On Chinese acting. The Tulane Drama Review, 6(1), 130-136. https://www.jstor.org/stable/1125011
  • Boal, A. (1995). The rainbow of desire: The Boal method of theatre and therapy. Routledge.
  • Bolton, G. (1985). Changes in thinking about drama in education. Theory Into Practice, 24(3), 151-157. http://www.jstor.org/stable/1477034
  • Bolton, G. M. (1984). Drama as education: An argument for placing drama at the centre of the curriculum. Longman.
  • Bolton, G. M. (1979). Towards a theory of drama in education. Longman.
  • Brockett, O. G. ve Ball, R. J. (2018). Tiyatronun temelleri. (M. Akşehir, Çev.). Karakalem Kitabevi Yayınları.
  • Cain, M. (2019). “But it wouldn’t be me”: Exploring empathy and compassion for self and others through creative processes. G. Barton and S. Garvis (Eds.). Compassion and empathy in educational contexts içinde (39-57). Palgrave Macmillan. https://doi.org/10.1007/978-3-030-18925-9_3
  • Davis, J.L. ve Love, T.P. (2017). Self-in-self, mind-in-mind, heart-in-heart: The future of role-taking, perspective taking, and empathy. Advances in Group Processes, 34, 151-174. https://doi.org/10.1108/S0882-614520170000034007
  • Dunn, J. (2016). Demystifying process drama: Exploring the why, what, and how. NJ: Drama Australia Journal, 40(2), 127-140. https://doi.org/10.1080/14452294.2016.1276738
  • Dunn, J, Bundy, P. ve Stinson, M. (2020). Process drama in five international contexts: Considering emotional responses and dramatic structuring. Applied Theatre Research, 8(2), 177–195. https://doi.org/10.1386/atr_00037_1
  • Dunn, J., Bundy, P., ve Stinson, M. (2015). Connection and commitment: Exploring the generation and experience of emotion in a participatory drama. International Journal of Education & the Arts, 16(6), 1-21. http://www.ijea.org/v16n6/
  • Eriksson, S. A. (2011). Distancing. S. Shonmann (Ed.). Key concepts in theatre/drama education içinde (65-71). Sense Publishers.
  • Eriksson, S. A. (2009). Distancing at close range: Investigating the significance of distancing in drama education [Unpublished doctoral dissertation]. Åbo Academy University.
  • Eriksson, S. A. (2007). Distance and awareness of fiction-exploring the concepts. NJ: Drama Australia Journal, 31(1), 5-22. https://doi.org/10.1080/14452294.2007.11649505
  • Freebody, K. (2010). Exploring teacher–student interactions and moral reasoning practices in drama classrooms. Research in Drama Education: The Journal of Applied Theatre and Performance, 15(2), 209-225. https://doi.org/10.1080/13569781003700094
  • Goodwin, J. ve Deady, R. (2013). The art of mental health practice: The role of drama in developing empathy. Perspectives in Psychiatric Care, 49, 126-134. https://doi.org/10.1111/ppc.12004
  • Heathcote, D. (1984). Collected writings on education and drama (L. Johnson ve C. O'Neill., Eds.). Heinemann.
  • Karaosmanoğlu, G. (2024). Looking at cyberbullying from different perspectives and roles: An online process drama research with Turkish participants. Research in Drama Education: The Journal of Applied Theatre and Performance, 1-20. https://doi.org/10.1080/13569783.2024.2360087
  • Keen, S. (2006). A theory of narrative empathy. Narrative, 14(3), 207–236. http://www.jstor.org/stable/20107388
  • Liu, J. (2002). Process drama in second and foreign language classrooms. G. Bräuer (Ed.). Body and language: Intercultural learning through drama içinde (51-70). Ablex Publishing.
  • McDonagh, F. ve Finneran, M. (2017). The teacher as co-creator of drama: A phenomenological study of the experiences and reflections of Irish primary school teachers. Irish Educational Studies, 36(2), 169-183. https://doi.org/10.1080/03323315.2017.1324806
  • O’Neill, C. (1995). Drama worlds. A framework for process drama. Heinemann.
  • O'Neill, C. (1991). Artists and models: Theatre teachers for the future. Design for Arts in Education, 92(4), 23-27. https://doi.org/10.1080/07320973.1991.9934847
  • O'Toole, J. (1992). The process of drama: Negotiating art and meaning. Routledge.
  • Piazzoli, E. (2010). Process drama and intercultural language learning: An experience of contemporary Italy. Research in Drama Education: The Journal of Applied Theatre and Performance, 15(3), 385-402. https://doi.org/10.1080/13569783.2010.495272
  • Piazzoli, E. ve Kennedy, C. (2014). Drama: Threat or opportunity? Managing the ‘dual affect’ in process drama. Scenario: A Journal of Performative Teaching, Learning, Research, 8(1), 52-68. https://doi.org/10.33178/scenario.8.1.5
  • Rosenbaum, J. (2023, Ekim 27). The revolution has been televised [Peter Watkins’ LA COMMUNE]. Jonothan Rosenbaum. https://jonathanrosenbaum.net/2023/10/the-revolution-has-been-televised/ (Orijinal çalışmanın basım tarihi 2002, Mayıs 17)
  • Watkins, P. (Yönetmen). (2000). La Commune (Paris, 1871) [Film]. ABD: Icarus Films.
  • Way B. (1967). Development through drama. Humanity Books.
  • Wells, T., Sandretto, S. ve Tilson, J. (2023). Learning “what it’s like to be someone else apart from yourself”: Developing holistic empathy with process drama. Pedagogy, Culture & Society, 31(4), 809-825. https://doi.org/10.1080/14681366.2021.1949633
  • Zillmann, D. (1995). Mechanisms of emotional involvement with drama. Poetics, 23(1–2), 33-51. https://doi.org/10.1016/0304-422X(94)00020-7
Toplam 33 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Konular Uygulamalı Tiyatro, Performans Sanatları (Diğer)
Bölüm Araştırma Makaleleri
Yazarlar

Gökhan Karaosmanoğlu 0000-0002-6612-4669

Yayımlanma Tarihi 30 Haziran 2024
Gönderilme Tarihi 1 Mart 2024
Kabul Tarihi 6 Haziran 2024
Yayımlandığı Sayı Yıl 2024 Cilt: 9 Sayı: 16

Kaynak Göster

APA Karaosmanoğlu, G. (2024). Süreçsel Drama ile Kolektif Bir Duygu İnşa Etmek. Tykhe Sanat Ve Tasarım Dergisi, 9(16), 181-202. https://doi.org/10.55004/tykhe.1445887