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MEGAN BASCOM DANS, EMPATİ VE KİNESTEZİ ÇAĞDAŞ DİYALOGLAR ATÖLYESİ ÜZERİNE BİR DENEME

Yıl 2020, Sayı: 10, 1 - 52, 31.01.2020

Öz

20. yüzyıl toplumsal yaşamını şekillendiren şehirleşme ve bireysellik gibi kavramlar beraberinde iletişimsizlik ve yalnızlık gibi sorunları getirmişken, günümüzde ise bir ağ üzerinden yirmi dört saat birbirleri ile birlikte olabilen insanlık, sanal alemde birbirlerine dokunmadan, dinlemeden, hissetmeden iletişimsiz bir iletişim içindedir. Bireysel anlamda bu şekilde yansımasını bulan empati, duygudaşlık kavramından yoksun bir iletişimin uluslararası arenada ülkelerarası politikaları nasıl şekillendirdiği de üzerine düşünülmesi gereken ayrı bir boyuttur. İletişim, empati ve kinestezi kavramları üzerinde yoğunlaşarak oluşturduğu koreografisinde Megan Bascom, bizlere sağlıklı ve güçlü bir iletişimin sanal alemde olduğu kadar günlük hayatta da kaybolmaya yüz tutan temel değerlerini hatırlatırken çağdaş dansta kinestezi ve empatinin gerek sahne üzerindeki dansçılar gerekse dansçı seyirci ilişkisindeki yeri üzerine odaklanmayı önermektedir.
Hacettepe Üniversitesi Ankara Devlet Konservatuvarı Bale ASD Modern Dans Sanat Dalı bünyesinde gerçekleştirilen bir proje sonucunda bir haftalık Dans, Empati ve Kinestezi Üzerine Çağdaş Diyaloglar başlıklı atölye çalışması, konservatuvar öğrencilerinin yanı sıra tiyatro oyuncuları ve farklı sanat dallarından katılımcılar ile zenginleşen, hareket, jest, ses, fiziksel eylemler, söz ve metin gibi farklı bileşenleri içeren bir süreç üretimine dönüşmüştür.
En temelde kişinin kendi bedenine dair farkındalığı gerektiren “kinestezi” kavramı, öncelikle atölye çalışmaları kapsamında performans sanatçılarının çalışmalarının bütününe ve ardından ortaya çıkan esere şekil veren bir unsur haline gelmiştir. ‘Empati’ kavramının kişiler arası ilişkilerdeki genel kullanımıyla aşina olduğumuz boyutunun yanı sıra dans eden bedenler arasında ve seyirci ile dans eden bu bedenler arasındaki “kinestetik empati” boyutu bir diğer önemli unsur olarak karşımıza çıkmakta. Kendi bedeninin biricikliğinin, orijinalliğinin farkında olma durumuna ilişkin bir kavram olan “otantik beden” de bu iki kavramın hayat bulabilmesi için temel teşkil eden ve dolayısı ile süreci şekillendiren bir diğer unsurdur. Bu çalışma kapsamında, sözü geçen kavramlardan yola çıkarak “Yanındayım” adlı eserin üretim sürecine ve söz konusu eserin ürettiği, işaret ettiği anlamlara, yargılara değinilecektir.

Kaynakça

  • (Ed.) EMDR: Promises for a Paradigm Shift. American Psychological Press.
  • Adler, J. (1987). Who is the witness? Contact Quarterly, Winter, 20-29.
  • Aron, L., & Anderson, F. S. (Eds.) (1998). Relational Perspectives on the Body. Hillsdale, NJ : Analytic Press.
  • Bartenieff, I. (1980). Body Movement: Coping with the Environment. New York:Gordon & Breach.
  • Beebe, B., Lachmann, F.,& Jasse, J. (1997). Mother-infant interaction structuresand presymbolic self- and object representations. Psychoanalytic Dialogues, 7(2),133-182.
  • Beebe, B.,& Lachmann, F. (2002). Infant Research and Adult Treatment: Coconstructing Interactions. Hillsdale, New Jersey: Analytic Press.
  • Bernstein, P.L. & Singer, D. L. (1982). The Choreography of Object Relations. New Hampshire: Antioch/New England Graduate School.
  • Blatner, A. (1992). Theoretical principles underlying creative arts therapies. The Arts in Psychotherapy. 18, 405-409.
  • Brandstetter, G. ve diğ. (1997). Touching and Being Touched: Kinesthesia and Empathy in Dance and Movement. Göttingen: De Gruyter.
  • Chodorow, J. (1991). Dance Therapy and Depth Psychology: The Moving Imagination. London: Routledge.
  • Condon, W. S., & Sander, L. (1974). Neonate movement is synchronized with adult Speech: Interactional participation and language acquisition. Science, 183, 99-101.
  • Corbin, Alain, Courtine, Jean-Jacques, Vigarello, Georges (2011) , Bedenin Tarihi 2: Fransız Devrimi’nden Büyük Savaş’a, İstanbul: Yapı Kredi Yayınları.
  • Corbin, Alain, Courtine, Jean-Jacques, Vigarello, Georges (2008), Bedenin Tarihi 1: Rönesans’tan Aydınlanma’ya, İstanbul: Yapı Kredi Yayınları.
  • Çatay, Z, ‘Beden ve Ben Arasında Dokunan Ağ’:Dans/Hareket Terapisi.
  • Davis, M. (1975) Towards Understanding the Intrinsic in Body Movement. NewYork: Arno Press.
  • Dosamantes-Alperson, I. (1984). Experiential movement psychotherapy. In Theoretical Approaches in Dance-Movement Therapy Vol. II. P. Lewis (Ed.) Iowa:Kendall/ Hunt Publishing Co.
  • Eroğlu, Feyzullah. (1996) Davranış Biçimleri. İstanbul: Beta yayınları
  • Foster, S. (1998). Kinesthetic Empathies and the Politics of Compassion. Daniel Tércio (Ed.). Continents in Movement: Proceedings of International Conference, The Meeting of Cultures in Dance History. Lisbon: FMH Editions.
  • Foster, S. (2011). Choreographing Empathy: Kinesthesia In Performance. London: Routledge.
  • Freud, S. (1923) The Ego and the Id. In The Freud Reader. (1989) P. Gay (Ed.) New York: Norton & Co.
  • Gençtan, Engin. (1990). Psikanaliz ve Sonrası. İstanbul: Remzi kitabevi
  • Gray, A.E.L. (1999). Healing the relational wounds of torture: Dance movement therapy with adult and child survivors of torture. Unpublished paper.
  • Hanna, J. L. (1983). The Performer-Audience Connection: Emotion to Metaphor in Dance and Society. Austin: University of Texas Press.
  • Heidegger, M. (1927). Varlık ve Zaman. (A. Yardımlı, Çev.) İstanbul: İdea (2017).
  • Hortaçsu, Nuran. (1992). İnsan İlişkileri. Ankara: İmge Kitabevi
  • In P. Lewis (Ed.) Theoretical Approaches in Dance-Movement Therapy. Vol 1. Iowa:Kendall/Hunt Publishing
  • Järvinen, H. (2007). Some Steps Towards Historical Epistemology of Corporeality. Society of Dance History Scholars 30th Anniversary Conference Co-Sponsored with CORD, 145-48. Paris: Centre national de la danse. Jung, C. G. (1961). Memories, Dreams and Reflections. New York: Random House.
  • Kestenberg, J., & Sossin, M. (1979). The Role of Movement Patterns in Development. New York: Dance Notation Bureau.
  • Knill, P. J., Barba, H. N., & Fuchs, M. N. (1995). Minstrels of the Soul: Intermodal Expressive Therapy. Toronto: Palmerston Press.
  • Knoblauch, S. H. (2005). Body, rhythms and the unconscious: Toward an expanding of clinical attention. Psychoanalytic Dialogues, 15(6), 807-827.
  • Kohut, H. (1977) The Restoration of the Self. New York: International Universities Press.
  • Kurath, G. (1960). Panorama of Dance Ethnology. Current Anthropology, 1(3), 233-254. Chicago: The University of Chicago Press.
  • Kuzgun, Yıldız. (1988) Rehberlik ve Psikolojik Danışma. Ankara: ÖSYM Yayınları.
  • Laban, R. (1971). The Mastery of Movement. London: MacDonald & Evans.
  • Lakoff, G. ve Johnson, M. (1980). Metaphors We Live By. Chicago and New York. Chicago: The University of Chicago Press.
  • Lever, M. (1987). Isadora Duncan: Dansın Tanrıçası. İstanbul: Everest, Alfa yayınları
  • Levi-Strauss, C. (2013). Hepimiz Yamyamız. (H. Bayrı, Çev.) İstanbul: Metis (2014).
  • Levy, F.J. (1992). Dance Movement Therapy: A Healing Art. Reston, VA: NDA.
  • Lewis, P. (1993). Creative Transformation: The Healing Power of the Arts. Illinois: Chiron Publications.
  • Looker, T. (1998). “Mama, why don’t your feet touch the ground?” : Staying with
  • Mahler, M. (1968) On Human Symbiosis and the Vicissitudes of Individuation. New York: International Universities Press.
  • Martin, R. (2016). Dancing in the Spring: Dance, Hegemony, and Change. Gay Morris ve Jens R. Giersdorf (Ed.), Choreographies of 21st Century Wars, 207-221. Oxford: Oxford University Press.
  • Newlove J. ve Dalby J. (2004). Laban for All. Londra: Nick Hern Books.
  • Öztürk, Orhan. (1989). Psikanaliz ve Psikoterapi. İstanbul: Evrim Kitabevi
  • Reason, M. ve Reynolds, D. (2010). Kinesthesia, Empathy and Related Pleausere: An Inquiry into Audience Experience of Watching Dance. Dance Research Journal, 42/2, s. 49-75.
  • Reich, W. (1949) Character Analysis. New York: Farrar, Strauss & Giroux.
  • Reynolds, D. (2012). Kinesthetic Empathy In Creative And Cultural Practices. Bristol, UK: Intellect.
  • Richard Nehson ve Jones. (1982). Danışma Psikolojisi Kuramları. (Çev: Füsun Akkoyun). Cossel Educational Limited.
  • Sandell, S. (1993) The process of empathic reflection in dance therapy. In Foundation of Dance/Movement Therapy: The Life and Work of Marian Chase.S. Sandel, S. Chaiklin, & A. Lohn (Eds.). Columbia: Maryland: ADTA.
  • Sandell, S. (1993). Imagery in Dance Therapy Groups: A developmental Appraoach. In Foundation of Dance/Movement Therapy: The Life and Work of Marian Chase. S.
  • Sandel, S. Chaiklin, & A. Lohn (Eds.). Columbia: Maryland: ADTA.
  • Senemoğlu, Nuray. (1997). Gelişim Öğrenme ve Öğretim. Ankara: H.Ü.E.Fak. yay.
  • Shelley, S. (1993). Marian Chase: Her Later Years. In Foundation of Dance/Movement Therapy: The Life and Work of Marian Chase. Chase. S. Sandel, S. Chaiklin,& A. Lohn (Eds.). Columbia: Maryland: ADTA.
  • Smyth, M. M. (1984). Kinesthetic Communication in Dance. Dance Research Journal 16, no. Autumn, s. 19-22.
  • The body and the healing moment in psychoanalysis. In L. Aron, & F. S. Anderson (Eds.) Relational Perspectives on the Body. Hillsdale, NJ : Analytic Press
  • Van der Kolk, B.A. (2001). EMDR, Consciousness, and the Body. In F. Shapiro
  • Whitehouse, M.S. (1979). C.G. Jung and Dance Therapy: Two Major Principles.
  • Winnicott, D. W. (1971). Playing and Reality. London: Routledge.
  • Winnicott, D.W. (1958). Collected Papers. New York: Basic Books.
  • Web Sayfaları
  • Empathy is Crutial to Being a Good Person, Right? Think Again. Erişim: 27.11.2018,
  • https://www.theguardian.com/science/head-quarters/2017/feb/07/empathy-is-crucial-to-being-a-good-person-right-think-again Empati Nedir? Erişim: 05.01.2019,
  • http://www.milliyet.com.tr/pembenar/empati-nedir-2591260 Aura nedir? Erişim: 05.01.2019,
  • http://kendigucunukesfet.net/?pnum=11&pt=AURA+NED%C4%B0R%3F
  • Kinesfer Nedir? Erişim: 05.01.2019,
  • https://tr.411answers.com/a/dansta-uzay-nedir.html

AN ESSAY ON MEGAN BASCOM’S CONTEMPORARY CONVERSATIONS OF DANCE, EMPATHY & KINESTHESIA WORKSHOP

Yıl 2020, Sayı: 10, 1 - 52, 31.01.2020

Öz

While the concepts such as urbanization and individuality, which shaped the social life of the 20th century, brought problems such as lack of communication and loneliness; today, people who seem to be in connection with each other at any time during twenty four hours a day over the web in the virtual world, are actually not in communication, in the lack of touching, listening, and feeling. In another dimension, it should be considered how, this kind of communication without empathy, which appears thus in individualistic sense, shapes the relations among nations in the arena of international politics. Megan Bascom, who emphasizes the concepts of communication, empathy and kinesthesia in her choreography, reminds us of the vanishing valueS of a healthy and powerful communication in the daily life as well as the virtual world and proposes to focus on the role of kinesthesia and empathy on both the dancers on the stage, and on the dancer spectator relationship, in the contemporary dance.
The Contemporary Conversations of Dance, Kinetshesia and Emphathy Workshop, which took place at the Hacettepe University, Ankara State Conservatory was collaboratively organized by the Departments of Ballet and Modern Dance Subdivision. Besides the students of the conservatory, some performers have also participated in the program, which has evolved into a production, including various components such as movement, gesture, sound, and words, enriched with the contributions of the participants.
Kinesthesia, which first of all requires an awareness of one’s own body, has become a major component, initially shaping the works of performers throughout the workshop, and later the piece produced. Beyond the familiar common use of the concept of “empathy” for interpersonal relationships, the dimension of “kinesthetic empathy” between the dancing bodies (performers), and also between the audience and dancing bodies (performers) emerges as a major element. The authentic body, which is a concept concerning the awareness of the uniqueness and the authenticity of one’s own body, is another vital factor for these two concepts to envigorate and thus shape the process. This paper aims to discuss the production process of “I’m With You” and the underlying meanings and judgements of the piece based on the aforementioned concepts.

Kaynakça

  • (Ed.) EMDR: Promises for a Paradigm Shift. American Psychological Press.
  • Adler, J. (1987). Who is the witness? Contact Quarterly, Winter, 20-29.
  • Aron, L., & Anderson, F. S. (Eds.) (1998). Relational Perspectives on the Body. Hillsdale, NJ : Analytic Press.
  • Bartenieff, I. (1980). Body Movement: Coping with the Environment. New York:Gordon & Breach.
  • Beebe, B., Lachmann, F.,& Jasse, J. (1997). Mother-infant interaction structuresand presymbolic self- and object representations. Psychoanalytic Dialogues, 7(2),133-182.
  • Beebe, B.,& Lachmann, F. (2002). Infant Research and Adult Treatment: Coconstructing Interactions. Hillsdale, New Jersey: Analytic Press.
  • Bernstein, P.L. & Singer, D. L. (1982). The Choreography of Object Relations. New Hampshire: Antioch/New England Graduate School.
  • Blatner, A. (1992). Theoretical principles underlying creative arts therapies. The Arts in Psychotherapy. 18, 405-409.
  • Brandstetter, G. ve diğ. (1997). Touching and Being Touched: Kinesthesia and Empathy in Dance and Movement. Göttingen: De Gruyter.
  • Chodorow, J. (1991). Dance Therapy and Depth Psychology: The Moving Imagination. London: Routledge.
  • Condon, W. S., & Sander, L. (1974). Neonate movement is synchronized with adult Speech: Interactional participation and language acquisition. Science, 183, 99-101.
  • Corbin, Alain, Courtine, Jean-Jacques, Vigarello, Georges (2011) , Bedenin Tarihi 2: Fransız Devrimi’nden Büyük Savaş’a, İstanbul: Yapı Kredi Yayınları.
  • Corbin, Alain, Courtine, Jean-Jacques, Vigarello, Georges (2008), Bedenin Tarihi 1: Rönesans’tan Aydınlanma’ya, İstanbul: Yapı Kredi Yayınları.
  • Çatay, Z, ‘Beden ve Ben Arasında Dokunan Ağ’:Dans/Hareket Terapisi.
  • Davis, M. (1975) Towards Understanding the Intrinsic in Body Movement. NewYork: Arno Press.
  • Dosamantes-Alperson, I. (1984). Experiential movement psychotherapy. In Theoretical Approaches in Dance-Movement Therapy Vol. II. P. Lewis (Ed.) Iowa:Kendall/ Hunt Publishing Co.
  • Eroğlu, Feyzullah. (1996) Davranış Biçimleri. İstanbul: Beta yayınları
  • Foster, S. (1998). Kinesthetic Empathies and the Politics of Compassion. Daniel Tércio (Ed.). Continents in Movement: Proceedings of International Conference, The Meeting of Cultures in Dance History. Lisbon: FMH Editions.
  • Foster, S. (2011). Choreographing Empathy: Kinesthesia In Performance. London: Routledge.
  • Freud, S. (1923) The Ego and the Id. In The Freud Reader. (1989) P. Gay (Ed.) New York: Norton & Co.
  • Gençtan, Engin. (1990). Psikanaliz ve Sonrası. İstanbul: Remzi kitabevi
  • Gray, A.E.L. (1999). Healing the relational wounds of torture: Dance movement therapy with adult and child survivors of torture. Unpublished paper.
  • Hanna, J. L. (1983). The Performer-Audience Connection: Emotion to Metaphor in Dance and Society. Austin: University of Texas Press.
  • Heidegger, M. (1927). Varlık ve Zaman. (A. Yardımlı, Çev.) İstanbul: İdea (2017).
  • Hortaçsu, Nuran. (1992). İnsan İlişkileri. Ankara: İmge Kitabevi
  • In P. Lewis (Ed.) Theoretical Approaches in Dance-Movement Therapy. Vol 1. Iowa:Kendall/Hunt Publishing
  • Järvinen, H. (2007). Some Steps Towards Historical Epistemology of Corporeality. Society of Dance History Scholars 30th Anniversary Conference Co-Sponsored with CORD, 145-48. Paris: Centre national de la danse. Jung, C. G. (1961). Memories, Dreams and Reflections. New York: Random House.
  • Kestenberg, J., & Sossin, M. (1979). The Role of Movement Patterns in Development. New York: Dance Notation Bureau.
  • Knill, P. J., Barba, H. N., & Fuchs, M. N. (1995). Minstrels of the Soul: Intermodal Expressive Therapy. Toronto: Palmerston Press.
  • Knoblauch, S. H. (2005). Body, rhythms and the unconscious: Toward an expanding of clinical attention. Psychoanalytic Dialogues, 15(6), 807-827.
  • Kohut, H. (1977) The Restoration of the Self. New York: International Universities Press.
  • Kurath, G. (1960). Panorama of Dance Ethnology. Current Anthropology, 1(3), 233-254. Chicago: The University of Chicago Press.
  • Kuzgun, Yıldız. (1988) Rehberlik ve Psikolojik Danışma. Ankara: ÖSYM Yayınları.
  • Laban, R. (1971). The Mastery of Movement. London: MacDonald & Evans.
  • Lakoff, G. ve Johnson, M. (1980). Metaphors We Live By. Chicago and New York. Chicago: The University of Chicago Press.
  • Lever, M. (1987). Isadora Duncan: Dansın Tanrıçası. İstanbul: Everest, Alfa yayınları
  • Levi-Strauss, C. (2013). Hepimiz Yamyamız. (H. Bayrı, Çev.) İstanbul: Metis (2014).
  • Levy, F.J. (1992). Dance Movement Therapy: A Healing Art. Reston, VA: NDA.
  • Lewis, P. (1993). Creative Transformation: The Healing Power of the Arts. Illinois: Chiron Publications.
  • Looker, T. (1998). “Mama, why don’t your feet touch the ground?” : Staying with
  • Mahler, M. (1968) On Human Symbiosis and the Vicissitudes of Individuation. New York: International Universities Press.
  • Martin, R. (2016). Dancing in the Spring: Dance, Hegemony, and Change. Gay Morris ve Jens R. Giersdorf (Ed.), Choreographies of 21st Century Wars, 207-221. Oxford: Oxford University Press.
  • Newlove J. ve Dalby J. (2004). Laban for All. Londra: Nick Hern Books.
  • Öztürk, Orhan. (1989). Psikanaliz ve Psikoterapi. İstanbul: Evrim Kitabevi
  • Reason, M. ve Reynolds, D. (2010). Kinesthesia, Empathy and Related Pleausere: An Inquiry into Audience Experience of Watching Dance. Dance Research Journal, 42/2, s. 49-75.
  • Reich, W. (1949) Character Analysis. New York: Farrar, Strauss & Giroux.
  • Reynolds, D. (2012). Kinesthetic Empathy In Creative And Cultural Practices. Bristol, UK: Intellect.
  • Richard Nehson ve Jones. (1982). Danışma Psikolojisi Kuramları. (Çev: Füsun Akkoyun). Cossel Educational Limited.
  • Sandell, S. (1993) The process of empathic reflection in dance therapy. In Foundation of Dance/Movement Therapy: The Life and Work of Marian Chase.S. Sandel, S. Chaiklin, & A. Lohn (Eds.). Columbia: Maryland: ADTA.
  • Sandell, S. (1993). Imagery in Dance Therapy Groups: A developmental Appraoach. In Foundation of Dance/Movement Therapy: The Life and Work of Marian Chase. S.
  • Sandel, S. Chaiklin, & A. Lohn (Eds.). Columbia: Maryland: ADTA.
  • Senemoğlu, Nuray. (1997). Gelişim Öğrenme ve Öğretim. Ankara: H.Ü.E.Fak. yay.
  • Shelley, S. (1993). Marian Chase: Her Later Years. In Foundation of Dance/Movement Therapy: The Life and Work of Marian Chase. Chase. S. Sandel, S. Chaiklin,& A. Lohn (Eds.). Columbia: Maryland: ADTA.
  • Smyth, M. M. (1984). Kinesthetic Communication in Dance. Dance Research Journal 16, no. Autumn, s. 19-22.
  • The body and the healing moment in psychoanalysis. In L. Aron, & F. S. Anderson (Eds.) Relational Perspectives on the Body. Hillsdale, NJ : Analytic Press
  • Van der Kolk, B.A. (2001). EMDR, Consciousness, and the Body. In F. Shapiro
  • Whitehouse, M.S. (1979). C.G. Jung and Dance Therapy: Two Major Principles.
  • Winnicott, D. W. (1971). Playing and Reality. London: Routledge.
  • Winnicott, D.W. (1958). Collected Papers. New York: Basic Books.
  • Web Sayfaları
  • Empathy is Crutial to Being a Good Person, Right? Think Again. Erişim: 27.11.2018,
  • https://www.theguardian.com/science/head-quarters/2017/feb/07/empathy-is-crucial-to-being-a-good-person-right-think-again Empati Nedir? Erişim: 05.01.2019,
  • http://www.milliyet.com.tr/pembenar/empati-nedir-2591260 Aura nedir? Erişim: 05.01.2019,
  • http://kendigucunukesfet.net/?pnum=11&pt=AURA+NED%C4%B0R%3F
  • Kinesfer Nedir? Erişim: 05.01.2019,
  • https://tr.411answers.com/a/dansta-uzay-nedir.html
Toplam 66 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Bölüm Makaleler
Yazarlar

Selçuk Göldere Bu kişi benim

Mine Söyler Bu kişi benim

Elif Tütem Aslan Bu kişi benim

Deniz Soyluer Bu kişi benim

Yayımlanma Tarihi 31 Ocak 2020
Yayımlandığı Sayı Yıl 2020 Sayı: 10

Kaynak Göster

APA Göldere, S., Söyler, M., Aslan, E. T., Soyluer, D. (2020). MEGAN BASCOM DANS, EMPATİ VE KİNESTEZİ ÇAĞDAŞ DİYALOGLAR ATÖLYESİ ÜZERİNE BİR DENEME. Sahne Ve Müzik(10), 1-52.
AMA Göldere S, Söyler M, Aslan ET, Soyluer D. MEGAN BASCOM DANS, EMPATİ VE KİNESTEZİ ÇAĞDAŞ DİYALOGLAR ATÖLYESİ ÜZERİNE BİR DENEME. Sahne ve Müzik. Ocak 2020;(10):1-52.
Chicago Göldere, Selçuk, Mine Söyler, Elif Tütem Aslan, ve Deniz Soyluer. “MEGAN BASCOM DANS, EMPATİ VE KİNESTEZİ ÇAĞDAŞ DİYALOGLAR ATÖLYESİ ÜZERİNE BİR DENEME”. Sahne Ve Müzik, sy. 10 (Ocak 2020): 1-52.
EndNote Göldere S, Söyler M, Aslan ET, Soyluer D (01 Ocak 2020) MEGAN BASCOM DANS, EMPATİ VE KİNESTEZİ ÇAĞDAŞ DİYALOGLAR ATÖLYESİ ÜZERİNE BİR DENEME. Sahne ve Müzik 10 1–52.
IEEE S. Göldere, M. Söyler, E. T. Aslan, ve D. Soyluer, “MEGAN BASCOM DANS, EMPATİ VE KİNESTEZİ ÇAĞDAŞ DİYALOGLAR ATÖLYESİ ÜZERİNE BİR DENEME”, Sahne ve Müzik, sy. 10, ss. 1–52, Ocak 2020.
ISNAD Göldere, Selçuk vd. “MEGAN BASCOM DANS, EMPATİ VE KİNESTEZİ ÇAĞDAŞ DİYALOGLAR ATÖLYESİ ÜZERİNE BİR DENEME”. Sahne ve Müzik 10 (Ocak 2020), 1-52.
JAMA Göldere S, Söyler M, Aslan ET, Soyluer D. MEGAN BASCOM DANS, EMPATİ VE KİNESTEZİ ÇAĞDAŞ DİYALOGLAR ATÖLYESİ ÜZERİNE BİR DENEME. Sahne ve Müzik. 2020;:1–52.
MLA Göldere, Selçuk vd. “MEGAN BASCOM DANS, EMPATİ VE KİNESTEZİ ÇAĞDAŞ DİYALOGLAR ATÖLYESİ ÜZERİNE BİR DENEME”. Sahne Ve Müzik, sy. 10, 2020, ss. 1-52.
Vancouver Göldere S, Söyler M, Aslan ET, Soyluer D. MEGAN BASCOM DANS, EMPATİ VE KİNESTEZİ ÇAĞDAŞ DİYALOGLAR ATÖLYESİ ÜZERİNE BİR DENEME. Sahne ve Müzik. 2020(10):1-52.