Oyuncunun Otonomisi Bağlamında Bir Eylemlilik Yolu Olarak Kata

Öz

Batı’da 20. yüzyıldan itibaren ortaya çıkan sistematik oyunculuk yöntemleri oyuncunun işini eylemler yaratmak olarak tanımlamaya başlamış ve oyuncunun otonom olarak eylem skorları oluşturabileceği yöntemsel yaklaşımlar geliştirmişlerdir. Doğu'da ise çağlar öncesinden bugüne uzanan oyunculuk stilleri, oyuncunun eylem skorunu belirleyen kendilerine özgü sabit bir hareket dağarcığına sahiptir. Tam da bu sabitlikleri nedeniyle skor yaratımı açısından genellikle oyuncu için heteronom yani kısıtlayıcı ve bağlayıcı olarak değerlendirilmişlerdir. Bu tür skor yapılarının Doğu'daki en dikkat çekici örneklerinden biri Japon Nō tiyatrosunun kata sistemidir. Bu makale oyuncunun eylemlilik yolu bağlamında Batılı yaklaşımlardan ayrışan kata sistemini oyuncunun otonomisi ve heteronomisi açısından incelemektedir. Makale, katayı hem bir eyleme yolu, hem eylemlerin bizatihi kendisi hem de bu eylemlerin nasıl gerçekleştirileceğini belirleyen hareket ilkeleri olarak, oyuncu eylemine ilişkin tüm nitelikleriyle inceleyerek, katanın yöntemsel yaklaşımına dair ön kabullerin ötesinde bir kavrayışa ulaşmayı amaçlamaktadır.

Anahtar Kelimeler

• Eylem
• Hareket
• Kata
• Nō Tiyatrosu
• Oyunculuk

Destekleyen Kurum

Bu araştırma hiçbir dış fon tarafından desteklenmemiştir.

Etik Beyan

Bu makale insan veya hayvan deneklerle yapılan herhangi bir çalışma içermemektedir. Bu çalışmanın hazırlık süreci boyunca bilimsel ve etik ilkelerin takip edilmiş ve çalışmada yararlanılan referanslar kaynakçada belirtilmiştir.

Teşekkür

Yazarlar, makalenin yayın sürecinde katkı sunan editöre ve değerli önerileri için hakemlere içten teşekkürlerini sunar.

Kata as a Path of Agency in the Context of the Actor's Autonomy

Öz

Systematic acting methods that have emerged in the West since the 20th century have begun to define the actor's job as creating actions and have developed methodological approaches in which the actor can create action scores autonomously. In the East, however, traditional acting styles possess a unique fixed repertoire of movements that determine the actor's action scores. It is precisely because of these fixed scores that they are generally considered heteronomous, that is, restrictive and binding for the actor. One of the most striking examples of these fixed action systems in the East is the kata system of Japanese Nō theatre. This article examines the kata system, which differs from Western approaches in the context of the actor's path of agency, in terms of the autonomy and heteronomy. This article aims to achieve an understanding of kata beyond the preconceptions about its methodological approach by examining kata in all its aspects related to actor's action: as a way of acting, as actions themselves, and as the principles of movement that determine how these actions are performed.

Anahtar Kelimeler

• Action
• Movement
• Kata
• Nō Theatre
• Acting

Kaynakça

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