Tiyatroda bedenin mekânı
Body and space interactions in theatre
Yazar: KÜBRA YEŞİLYURT
Danışman: DOÇ. DR. PELİN DURSUN ÇEBİ
İstanbul Teknik Üniversitesi / Fen Bilimleri Enstitüsü / Mimarlık Ana Bilim Dalı / Mimari Tasarım Bilim Dalı
Derece: Yüksek Lisans, 2019
Konu: Mimarlık = Architecture
Dizin: Bauhaus tiyatrosu = Bauhaus theatre ; Modern tiyatro = Modern theatre ; Uyumsuz tiyatro =   ; Zaman-mekan = Time-space ; Çağdaş tiyatro =   ; Özel tiyatro = Private theatre ; İnsan-mekan ilişkisi = Human-space relationship

Özet:
Beden ve Mekân arasındaki etkileşim günümüzde mimarlık tartışmalarının ana konularından biri haline gelmiştir. Beden sürekli bir değişim halindeyken, mekân; zihnimizde canlandırdığı görsel imgelemin de etkisiyle durağan ve sabit bir nesne olarak algılana gelmiştir. Çalışmada mekânın devingenliği ve bedenin deneyimiyle kazandığı nitelikler tiyatro mekânı üzerinden ele alınmıştır. Bedenin algılayan ve anımsayan bir özne olarak bulunduğu mekânı ve zamanı nasıl var ettiği, tiyatro sahnesinde gerçekleşen performans odaklı deneyimler üzerinden irdelenmiştir. Buna bağlı olarak mevcut mekânsal algılayışımızın, bedenin mekânsal deneyimi ile nasıl değişip dönüşebileceği irdelenmiş ve tiyatro mekânının tarihsel süreçte performansın niteliğine bağlı olarak ne gibi açılımlar kazandığı beden ve mekan etkileşimleri üzerinden ortaya çıkarılmaya çalışılmıştır. Bu ikili etkileşim doğrultusunda tiyatro mekânında bedenin yeri ve anlamı, tiyatral deneyim üzerinden açığa çıkarılmaya çalışılmıştır.
En temel anlamıyla topluluklar için bir iletişim ortamı oluşturmak amacıyla ortaya çıkmış olan Tiyatro sanatı, tarih boyunca kolektif bir paylaşımın olduğu bu ortamı meydana getirirken sözü en etkili şekilde söylemenin yollarını aramıştır. Tiyatronun kaynağı kabul edilen ritüellerden beri etkili söz söyleme biçimleri, dönemin tavrına, gelişmelerine, toplumsal dinamiklerine göre değişmiş olsa da; tiyatronun iletişime ve etkileşime ortam hazırlayan toplumsal bir sanat olarak yeri günümüze kadar önemini korumuştur. Çağdaş Tiyatro'nun etkili söz söyleme biçimi haline gelmiş olan beden, artık sahne mekânındaki sanatsal yaratının temel ögesi olarak ele alınmakta ve tiyatronun kurgusunu etkileyen en önemli unsurlardan biri olarak karşımıza çıkmaktadır. Bedenin tiyatro sahnesindeki yerinin Çağdaş Tiyatro'ya ve günümüz tiyatro anlayışına gelinceye kadar nasıl bir değişime uğradığı, bu değişimi meydana getiren kritik dönüm noktaları ve sahnedeki bedensel devrimin mekânsal olana yansımasının tiyatro mekânına getirdiği açılımlar; bu çalışmada Türkiye'deki 21.yy Alternatif Tiyatro ortamı üzerinden incelenmiştir. 
Tiyatronun özüne dönüldüğünde tiyatro yapmak için gerekli olan tek etmenin 'insan' olduğu söylenir; fakat performansın gerçekleştiği ve oyuncunun başkaları tarafından izlendiği yerde 'mekân'ın varlığı ve önemi de göz ardı edilemez. Çalışmada, performans ve deneyim üzerinden ele alınan bu mekân algısı, deneyimlenerek gözlemlenmiş olup; üç farklı tiyatro topluluğunun oyunlarındaki beden ve mekân etkileşimlerinin dinamikleri deşifre edilmeye çalışılmıştır. Bu çalışma; tiyatro ve mimarlık disiplinleri için "mekân" kavramının sınırlarını genişletmesi ve yeni arayışların mekânsal karşılıklarının ortaya çıkmasına ortam hazırlaması açısından her iki disiplin için de önem arz etmektedir.

Abstract:
The interactional relationship between 'body' and 'space' has become one of the main topics of all the architectural debates in recent years. While the body is in a state of constant change, the space has always been perceived as a stable entity in a conventional manner. In this research study, space has been requestioned with its fluidity and instability through the experience revealed with the performance. The interaction between the performative body and space has been discussed through the theatre and the theatrical space. The way in which the body defines the space and time (as a sensing and recording entity) is examined through performance-oriented experiences on the theatre stage with an architectural perspective. Within the scope of this study, it has been explored how the existing spatial perception can be varied and transformed by the spatial experience of the body. Furthermore, it has been aimed to reveal the various expansions of the theatre space has gained in the historical process depending on the performance through a bodily perception. In accordance with this dual interaction between the body and space, the qualities of the body on the stage has been discussed with the theatrical notions as the 'bodily experience' and 'performance'.
Theatre as an art, has primarily emerged in order to create a collective environment of communication for the society. Throughout history, the art of theatre has sought the most effective ways to put its statement into words and help to express, communicate and interact. Since the prehistoric rituals which are accepted as the source of the theatre art, the most effective ways to express its statements for theatre, have changed constantly according to the social, political and periodical dynamics of the society. In contemporary theatre, the way of saying the word effectively has been the body itself. It has also become the main element of an artistic creation on the stage. Bodily performance in different forms, started to identify the theatre space by itself. In this context, the latest paradigms and innovations that bodily revolution brought to the theatre space have been observed in this research study through experiencing the new and experimental theatre of Turkey.
'Space' (as an architectural notion) is the first necessary thing to observe and understand, before observing the 'theatre space' within the scope of this research study. Although space is generally perceived only as an architectural term, it is in fact an important concept and research topic for all the disciplines that contains human factors. When we talk about space, the first thing that comes to mind is an atmosphere or a volume which is surrounded by physical boundaries. However, as a phenomenon, space have been defined and interpreted in many different ways over time in various disciplines. Consequently, the boundaries of 'space' are expanding day by day and the phenomenon of spatiality continues to make new and unique connotations.
Space may not always have a volume equivalent. In order to talk about the existence of space, it is necessary to talk about people and experience. In this study, the concept of space is generally used to express a dynamic and fluid spatiality, whose boundaries are mostly ambiguous and defined by experience. In order to understand and interpret the theatre space which is being questioned with some changing factors over time, this study has focused the relationship between space and experience and the role of body within the experience. Since the perception of space is very individual and at the same time unstable and changable by so various kind of external factors, it will not be accurate to examine and understand the space from a single point of view. For this reason in the scope of this study, the space was examined by taking into consideration both the the spatiality formed by the body on the stage and the qualities of the fictional space perceived by the audiences.
For the art of the theatre, the presense of the human beings -even the importance was changing according to the historical periods- has always been perceived as the only necessary factor to 'perform' for the centuries. However, the existence and importance of the theatre space where the performance of human beings takes place, can not be ignored. Its generally agreed by most of the theorists that 'body' and 'space' are inseperable, holistic factors for any performance in theatre. Not only for architectural and theatrical disciplines, but for the all space related studies there is a common outcome: Space has to be examined with the presence of human beings (bodies). As the German philosopher Heidegger (1996) said: "Body and space are wholly inseparable".
'Body' is one of the important actors of the relationship that space establishes with theatre. In the course of time, body changed its forms of interaction with the theatre and became both a tool for the experience of the theatre and a subject that creates an environment for the experience. Theatre space is not only the image of the stage itself; it is also the perceptual image created by the play's fiction. What constitutes the space of the play is the performance of the bodies on the stage. In other words, when it comes to theatre space, we are faced with two different condition. One of them is the physical space where we can visually perceive its borders and the other one is the fictional space whose boundaries are determined by the bodies on the stage. This fictional space is the basis on which the play is based. It should not be ignored that there are dimensions other than depth, width and height for a space like theatre stage, which has emotional activity and mostly defined by performance. In this context, it can be said that the fictional space is interpreted with a new and unique form of perception each time to the extent that the performance allows. Although the ways in which the body and space are handled over time have changed according to the understanding of each historical period, the existence of the body on the stage has always been one of the most necessary thing for transforming the theatre space into an experimental field. In this research study, which deals with the relations between body and space in theatre, the changes in the fictional and physical space through the history of the theatre are briefly mentioned and a general framework of the theatre space is tried to be explained.
Consequently, after the theorical background and the examples of the experimental body-space studies, the dynamics of the "body and space interactions" have been unveiled through three different cases (theatre plays) which are belong to different experimental-alternative theatre communities of Turkey. The components of the space, body-interactive paradigms of the performance and the dynamics between the performative body and the spectator body, have been constructed the main structure of the interactional analyzes. 
My main motivation for this research study was to be able to analyze the performative theatre space with an architectural perspective. The significance of this research study is to expand the boundaries of the concept of 'space' for both the theatrical and architectural disciplines and to create a fresh and open environment to unveil the spatial responses of the new and upcoming requests of this field.