The Transformation of Self-Perception in Acting: The Body-Self

Yıl 2024, Cilt: 11 Sayı: 2, 670 - 682, 25.12.2024

Yeşim Alıç

https://doi.org/10.26650/CONS2024-1572786

Öz

This study presents a perspective on self-perception in acting through neuroscience and the Feldenkrais method, integrating theory and practice to enhance understanding in the field. It examines the dynamic interaction between body and mind to enhance authenticity and creativity on stage. The body is considered not merely as a tool but as a source of sensory awareness and creativity.
The research focuses on how actors develop self-perception through neuroscientific findings and bodily awareness cultivated by the Feldenkrais method. While neuroscience explains how emotions and movements are processed in the brain, the Feldenkrais method offers a concrete approach to applying this understanding in practice. This enables actors to perceive both what they do and how they do it, allowing them to go beyond habitual patterns and unlock their potential to create more genuine and organic character portrayals.
This study includes a literature review and theoretical analyses to evaluate the impact of Antonio Damasio’s somatic marker hypothesis, body maps, and the Feldenkrais method on acting. The combined use of neuroscience and the Feldenkrais method allows actors to enhance their bodily awareness, transform habitual movement patterns, and achieve greater authenticity in their performances.

Anahtar Kelimeler

Self-Perception, The Actor’s Body, The Feldenkrais Method

Benlik Algısının Oyunculukta Dönüşümü: Beden Benlik

Öz

Bu çalışma, oyunculukta benlik algısının nörobilim ve Feldenkrais metodu yolu ile teorik ve uygulamanın birbirini tamamlayarak oyunculukta bir algı perspektifi sunmaktadır. Sahnedeki özgünlük ve yaratıcılığı artırmak için beden ve zihin arasındaki dinamik etkileşim incelenmektedir. Beden bir araç olarak değil, duyusal farkındalık ve yaratıcılık kaynağı olarak ele alınmaktadır.
Araştırma, oyuncuların nörobilimsel bulgular ve Feldenkrais’in geliştirdiği bedensel farkındalık yoluyla benlik algısını nasıl oluşturduklarına odaklanmaktadır. Nörobilim, duyguların ve hareketlerin beyinde nasıl işlendiğini açıklarken, Feldenkrais metodu bu işleyişin uygulamada somut çalışma olanağı sağlar. Böylece oyuncunun ne yaptığını ve nasıl yaptığını algılayarak, mevcut alışkanlık paternlerinin ötesinde kendi potansiyellerini kullanarak daha gerçek ve organik karakter kurgulamasına olanak tanır.
Bu çalışma, Antonio Damasio’nun somatik işaretleyici hipotezi, beden haritaları ve Feldenkrais metodunun oyunculuk üzerindeki etkilerini değerlendirmek için literatür taraması ve teorik analizler yapmıştır. Nörobilim ve Feldenkrais metodunun bir arada kullanılması oyuncuların bedensel farkındalıklarını artırmalarına, alışkanlık haline gelen hareket kalıplarını dönüştürmelerine ve performanslarında daha fazla özgünlük yakalamalarına olanak tanır.

Anahtar Kelimeler

Benlik Algısı, Oyuncunun bedeni, Feldenkrais Metodu

Kaynakça

• Block, N. (2001). Paradoxes of Consciousness. Cambridge, MA: MIT Press. google scholar
• Brook, P. (1968). The Empty Space. Penguin Books. google scholar
• Brook, P. (1993). There Are No Secrets: Thoughts on Acting and Theatre. London: Methuen Drama. google scholar
• Brook, P. (1994). "On Actor Training". In Platform Papers 6. London: National Theatre. google scholar
• Cooley, C. H. (1968). The Social Self: On the Meanings of “I”. In Ch. Gordon & K. J. google scholar
• Damasio, A. (2000). The Feeling of What Happens: Body and Emotion in the Making of Consciousness. Harcourt. google scholar
• Damasio, A. (1994). Descartes’ Error: Emotion, Reason and the Human Brain. HarperCollins Publishers, Inc. google scholar
• Erinç, S. (2011). Sanat Psikolojisi’ne Giriş. Ankara: Ütopya Yayınevi. google scholar
• Feldenkrais, M. (1981). The Elusive Obvious: Or Basic Feldenkrais. Cupertino, California: Meta. google scholar
• Feldenkrais, M. (1985). |The Potent Self: The Dynamics of the Body and the Mind. San Francisco: Harper. google scholar
• Feldenkrais, M. (1990). Awareness Through Movement. London: Penguin Arkana. google scholar
• Feldenkrais, M. (2005). Berkeley. California: North Atlantic Books. google scholar
• Feldenkrais, M. (2002). The Potent Self: A Guide to Spontaneity. Cupertino, California: Meta. google scholar
• Freeman, W. J. (2000). How Brains Make Up Their Minds. London: Phoenix. google scholar
• Frith, C. D. (2007). Making Up the Mind: How the Brain Creates Our Mental World. Blackwell: Oxford. google scholar
• Gurwitsch, A. (2010). Phenomenology of Thematics and of the Pure Ego: Studies of the Relation Between Gestalt Theory and Phenomenology. Dordrecht: Springer. google scholar
• Hopkins, D., & Klein, R. (1993). Standards of Mind and Heart: Creating the Good High School. New York: Teachers College Press. google scholar
• Jung, Carl Gustav. (2015). Dört Arketip. (Zehra Aksu Yılmazer,Çev). İstanbul: Metis Yayınları. google scholar
• Jung, C. G. (1999). Keşfedilmemiş Benlik. (Canan Ener Sılay, Çev.). İstanbul: İlhan Yayınevi &Danışmanlık google scholar
• Klein, R. (1989). "Introduction to the Disorders of the Self". In J. F. Masterson & R. Klein (Eds.), Psychotherapy of the Disorders of the Self, The Masterson Approach. New York: Brunner/Mazel. google scholar
• Kohut, H. (1977). The Restoration of the Self. New York: International Universities Press. google scholar
• Legrand, D. (2011). The Bodily Self: Selected Essays. Cambridge, MA: MIT Press. google scholar
• Linklater, K. (1972). "The Body Training of Moshe Feldenkrais". The Drama Review: TDR, Vol. 16, No. 1, 23-27. google scholar
• Marshall, P. (2008). The Body Speaks: Performance and Physical Expression. London: Methuen Drama. google scholar
• Maslow, A. H. (1943). "A Theory of Human Motivation". Psychological Review, 50(4), 370- 396. google scholar
• Masterson, J. F. (1990).The Search for the Real Self: Unmasking the Personality Disorders of Our Age. New York google scholar
• Merleau-Ponty, M. (2012). Phenomenology of Perception. Translated by Donald A. Landes. London: Routledge. google scholar
• Pradier, Jean Marie (1990) ‘Towards a Biological Theory of the Body in Performance’ in New Theatre Quarterly, Vol. VI, No. 2, 1990 google scholar
• Pradier, Jean Marie (1990) ‘Towards a Biological Theory of the Body in Performance’ in New Theatre Quarterly, Vol. VI, No. 2, 1990 google scholar
• Schutz, A. (2011). Collected Papers V. Phenomenology and the Social Sciences. Dordrecht: Springer. google scholar
• Seth, A. K. (2015). The Real Problem: Consciousness Isn’t a Thing, It’s a Process. Aeon. Retrieved from [link]. google scholar
• Stanislavski, K. (1936). An Actor Prepares. Translated by Elizabeth Reynolds Hapgood. London: Bloomsbury Publishing. google scholar
• Stanislavski, K. (1989). An Actor’s Work: A Student’s Diary. Routledge. google scholar