Eugenio Barba and Extra-Daily Scenic Behaviour: Influences of Stanislavski, Meyerhold and Grotowski

Yıl 2020, , 23 - 43, 24.09.2020

Dila Okuş

https://doi.org/10.26650/jtcd.809806

Öz

Three directors who influenced 20th century theatre, Konstantin Stanislavski, Vsevolod Meyerhold and Jerzy Grotowski, and they each conducted comprehensive studies on the position of acting through theatrical aesthetic. In order to realize this theatrical aesthetic, these directors emphasized the need for actors to practice systematic exercises and develop particular scenic behaviour, which is different from daily behaviour. Their work has paved the way for various theoretical studies on acting. The actor who is going to act within a reality that fictionalized on stage, no matter the strength of its relationship with daily reality, has to leave the automatized daily behaviour behind and develop a technique that is built upon the necessities of the stage context. In this article, the basis of the extra-daily scenic behaviour of actors in the Odin Theatre is dealt with in the light of approaches of directors who strongly affected the theatre approach that developed through the 20th century: namely Stanislavski, Meyerhold and Grotowski.

Anahtar Kelimeler

Eugenio Barba, Konstantin Stanislavski, Vsevolod Meyerhold, Jerzy Grotowski, Extra-daily technique

Eugenio Barba ve Gündelik-Dışı Sahne Davranışı: Stanislavski, Meyerhold ve Grotowski Etkileri

Öz

20. yüzyıl tiyatro düşüncesini etkileyen Konstantin Stanislavski, Vsevolod Meyerhold ve Jerzy Grotowski, oyunculuk sanatının teatral estetik içindeki yeri üzerine kapsamlı çalışmalar yürütmüşlerdir. Bu tiyatro insanları, oyuncuların, hedefledikleri teatral estetiği hayata geçirebilmek için sistematik egzersizler yapmaları ve sahne üzerinde gündelik hayattakinden farklı bir davranış biçimi geliştirmeleri gerektiğine vurgu yapmışlardır. Yaptıkları çalışmalarla, oyunculuğa dair kuramsal çalışmaların önü açılmıştır. Sahne üzerinde kurgulanan bir gösterimin içinde hareket edecek oyuncunun, sahne gerçekliğinin gündelik gerçeklikle ilişkisi ne boyutta olursa olsun, gündelik yaşamda sergilediği otomatikleşmiş davranış biçimini bir kenara bırakması, sahne üzerindeki bağlamın gerekleri çerçevesinde şekillenmiş bir teknik geliştirmesi gerekmektedir. Bu makalede Odin Tiyatrosu oyuncularının gündelik-dışı sahne davranışının temelleri, çalışmaları 20. yüzyıl tiyatrosuna yön veren Konstantin Stanislavski, Vsevolod Meyerhold ve Jerzy Grotowski’nin yaklaşımları ışığında ortaya konmaktadır.

Anahtar Kelimeler

Eugenio Barba, Konstantin Stanislavski, Vsevolod Meyerhold, Jerzy Grotowski, Gündelik-dışı teknik

Kaynakça

• Bablet, Denis. “Actor’s Technique” Towards a Poor Theatre, edited by Eugenio Barba, 205-225. New York: Routledge, 2002.
• Barba, Eugenio. “Grandfathers, Orphans, and the Family Saga of European Theatre”. New Theatre Quarterly Vol. 19:2 (2003). 108-118.
• Barba, Eugenio. “The Essence of Theatre”. The Drama Review: TDR Vol. 46: 3 (2002) 12-30.
• Barba, Eugenio. The Paper Canoe: A Guide to Theatre Anthropology, translated by Richard Fowler. New York: Routledge, 2002.
• Barba, Eugenio. “Letter From Barba”. The Drama Review: TDR Vol 19:4 (1975) 47-57.
• Barba, Eugenio. “The Theatre’s New Testament” Towards a Poor Theatre, Editor Eugenio Barba, 27-55. New York: Routledge, 2002.
• Barba, Eugenio. On Directing and Dramaturgy, Burning the House, Translated by Judy Barba. New York: Routledge, 2010.
• Barba, Eugenio and Savarese, Nicola. Dictionary of Theatre Anthropology: Secret Art of The Performer. Translated by Richard Fowler. London: Routledge, 2006.
• Barba, Eugenio. Odin Week 2019 Speeches from Workshops and Seminars, edited by Dila Okuş. Holstebro, Denmark 2019.
• Barba, Eugenio ve Savarese, Nicola. The Five Continents of Theatre: Facts and Legends about the Material Culture of the Actor. Translated by T. H. Simpson. Boston: Brill Sense, 2019.
• Benedetti, Jean. Stanislavski: An Introduction, Taylor and Francis e-Library, 2005.
• Carreri, Roberta. On Training and Performance: Traces of an Odin Actress, Translated by Frank Camilleri. New York: Routledge, 2014.
• Fragments From Training at Teatr-Laboratorium, Director Torgeir Wethal, Odin Teatret Archives, Holstebro: 1972.
• Gorchakov, Nikolai M. Stanislavski Directs, New York: Minerva Press: 1954.
• Grotowski, Jerzy. “He Wasn’t Entirely Himself” Towards a Poor Theatre, edited by Eugenio Barba, 117-127. New York: Routledge, 2002.
• Grotowski, Jerzy. “Towards a Poor Theatre” Towards a Poor Theatre, edited by Eugenio Barba, 15-27. New York: Routledge, 2002.
• Grotowski, Jerzy. “Methodical Exploration” Towards a Poor Theatre, edited by Eugenio Barba, 127-133. New York: Routledge, 2002.
• Hodge, Alison. “Introduction” Actor Training, New York: Routledge, 2010.
• Hoover, Marjorie L. Meyerhold: The Art of Conscious Theater. Amherst: University Massachusetts Press 1974.
• Karaboğa, Kerem. Oyunculuk Sanatında Yöntem ve Paradoks. İstanbul: Habitus Yayıncılık 2018.
• Kumiega, Jane. The Theatre of Grotowski. New York: Methuen: 1985.
• Law, Alma ve Gordon, Mel. Meyerhold, Eisenstein and Biomechanics: Actor Training in Revolutionary Russia, ABD: Mc&Company 1996.
• Meyerhold, Vsevolod. Meyerhold on Theatre, edited by Edward Braun (London: Bloomsbury Methuen Drama: 2016)
• Moore, Sonia. The Stanislavski System, The Professional Training of an Actor. New York: Penguin Books, 1984.
• Richards, Thomas. At Work With Grotowski on Physical Actions, Taylor&Francis e-library, 2004.
• Stanislavski, Konstantin. “Stanislavski’nin Mirası” Translated by Metin Göksel and G. Ahıskanlı. Mimesis Tiyatro/Çeviri-Araştırma Dergisi 3 (1990) 125-166.
• Stanislavski, Konstantin. An Actor Prepares, Translated. Elizabeth Reynolds Hapgood. Bloomsbury Publishing, 2014.
• Watson, Ian. “Eastern and Western Influences on Performer Training at Eugenio Barba's Odin Teatret”. Asian Theatre Journal, Vol. 5:1 (1988) 49-60.
• Whyman, Rose. Stanislavsky System of Acting, Legacy and Influence in Modern Performance, New York: Cambridge University Press: 2008.
• Worral, Nick. Modernism to Realism on the Soviet Stage. New York: Cambridge University Press, 1989.