Aristoteles<\/a>, tiyatroyu insan hareketlerinin bir taklidi, temsili sayar.
\n\u0130nsanlar belli zamanlarda yapt\u0131klar\u0131 t\u00f6renlerde, tap\u0131nd\u0131klar\u0131 tanr\u0131lar\u0131, il\u00e2hlar\u0131 temsil etmek i\u00e7in maske
\nkulland\u0131lar. Avrupa\u2019da M.\u00d6. 40-10 bin y\u0131l \u00f6nceden kalma ma\u011fara resimlerinde el ve y\u00fczlerine hayvan
\npostu ge\u00e7irmi\u015f, hareket h\u00e2linde insanlar g\u00f6r\u00fclmektedir. Bunlar ilk tiyatro \u00f6rnekleri say\u0131labilir. \u015eamanist
\nt\u00f6renlerde, \u015faman, bir il\u00e2h\u0131n temsilcisidir. M.\u00d6. 6. y\u00fczy\u0131lda, eski Yunan\u2019da, \u015farap tanr\u0131s\u0131 Dionysos i\u00e7in
\nd\u00fczenlenen t\u00f6renlerde, \u015fenliklerde bir koro dithyrambos \u015fark\u0131lar\u0131 s\u00f6yler, maskeli ki\u015filer sahnede
\noynard\u0131. B\u00f6ylece b\u00e2z\u0131 de\u011fi\u015fikliklerle Avrupa tiyatrosunun temeli at\u0131lm\u0131\u015f oldu. Dionysos c\u00fcmb\u00fc\u015flerinde
\nsergilenen azg\u0131n ve utan\u00e7 verici sahneler trajedi (tragedya) ad\u0131n\u0131 ald\u0131. Trajedilerde kader, ahl\u00e2k, t\u00f6re
\nanlay\u0131\u015f\u0131 daha sonralar\u0131 da eski Yunan felsefe ve k\u00fclt\u00fcr\u00fcne g\u00f6re anlat\u0131ld\u0131. M.\u00d6. 5. y\u00fczy\u0131ldan \u00eetib\u00e2ren
\nortaya \u00e7\u0131kan komedilerse Dionysos t\u00f6renlerine trajedilerden daha \u00e7ok ba\u011fl\u0131d\u0131r. Yunanca komos
\n(e\u011flence, \u015fenlik) kelimesinden t\u00fcreyen komedide soytar\u0131l\u0131k, hokkabazl\u0131k, ahl\u00e2ks\u0131zca m\u00fcn\u00e2sebetler,
\nbahar \u00e2yinleri, Atinal\u0131lar\u0131n erotik ya\u015fay\u0131\u015flar\u0131 olduk\u00e7a geni\u015f yer tutar. \u00d6yle ki 10.000, 20.000 ki\u015filik bir
\n\u015fehir halk\u0131n\u0131n, kitle h\u00e2linde bu \u015fenliklere kat\u0131ld\u0131\u011f\u0131 g\u00f6r\u00fclm\u00fc\u015ft\u00fcr. Her y\u0131l Almanya ve Brezilya gibi
\n\u00fclkelerde d\u00fczenlenen fa\u015fing ve karnaval e\u011flenceleri bu \u00e7e\u015fitten tiyatro gelene\u011finin g\u00fcn\u00fcm\u00fczdeki
\ng\u00f6r\u00fcnt\u00fcs\u00fcd\u00fcr.<\/p>\n\u0130talya\u2019ya tiyatro, Roma d\u00f6neminde Yunanl\u0131lardan s\u0131\u00e7ram\u0131\u015ft\u0131r (M.\u00d6. 3. y\u00fczy\u0131l). Yunan tiyatrosunun bir
\ntaklidi olan \u0130talya tiyatrosunda \u015fehir halk\u0131n\u0131n kitle h\u00e2linde kat\u0131lma oran\u0131 Yunanistan\u2019dan daha da
\nfazlad\u0131r. Trajedinin y\u0131k\u0131nt\u0131lar\u0131 aras\u0131ndan do\u011fan Pandomima (pantomim: m\u00fczikli, dansl\u0131, s\u00f6zs\u00fcz oyun)
\nRoma\u2019da geli\u015fmi\u015f bir seyirlik t\u00fcr\u00fcd\u00fcr.<\/p>\n
Orta\u00e7a\u011fda H\u0131ristiyanl\u0131k, kendi inanc\u0131n\u0131n tiyatrosunu kurdu. Akrobatlar, soytar\u0131lar yap\u0131lan \u015fenliklerde ve
\nsarayda halk\u0131n ilgisini \u00e7ekmesine ra\u011fmen, kilise ve manast\u0131rlarda kendi oyunlar\u0131n\u0131 sergiledi (10-13.
\ny\u00fczy\u0131llar). 15-16. y\u00fczy\u0131llardaysa profesyonel topluluklar sahnede g\u00f6r\u00fcld\u00fc.
\nR\u00f6nesans tiyatrosu (15. y\u00fczy\u0131l) \u0130talya\u2019da ba\u015flad\u0131, \u0130ngiltere\u2019de \u00f6nem kazand\u0131. \u0130talya, reform hareketi
\nd\u0131\u015f\u0131nda kald\u0131\u011f\u0131ndan kilise tiyatrosu (\u00e2yin oyunu)nu devam ettirdi. Avrupa\u2019da 16. y\u00fczy\u0131l sonlar\u0131nda
\nd\u00fc\u015f\u00fcnce, ahl\u00e2k ve inan\u00e7 \u00e7at\u0131\u015fmalar\u0131 yeni boyutlar kazand\u0131. \u0130ngiltere\u2019de toplumun her kesimine
\nseslenen Shakespeare\u2019nin oyunlar\u0131n\u0131 zenginler destekledi (1590). Fransa\u2019da tiyatro topluluklar\u0131n\u0131n
\nyayg\u0131nla\u015fmas\u0131 16. y\u00fczy\u0131la rastlar. Corneille ve Racine konular\u0131n\u0131 Yunan-Roma mitolojilerinden al\u0131r.
\nMoliere, halk tiplerini se\u00e7er ve modern komedinin kurucusu olur.<\/p>\n
On sekizinci y\u00fczy\u0131l Avrupa tiyatrosu, orta s\u0131n\u0131fa seslenir. Ahl\u00e2k\u00ee anlay\u0131\u015fla r\u00f6nesans \u00f6ncesinin kilise
\ntiyatrosunu and\u0131r\u0131r. \u00c2ile konular\u0131 ve hiss\u00eelik \u00f6n pl\u00e2na \u00e7\u0131kar. Kl\u00e2sik trajedi, daha \u00e7ok operada g\u00f6r\u00fcl\u00fcr.
\nKomediler, bu y\u00fczy\u0131l\u0131n en tutulan t\u00fcr\u00fc olur.<\/p>\n
On dokuzuncu y\u00fczy\u0131l romantizmi tiyatroyu de\u011fil de \u015fiiri etkiledi. Ancak Almanya\u2019da romantik tiyatro
\nhayli iddial\u0131yd\u0131. Schiller, Goethe ve Wagner Almanya\u2019da; Hugo ve Alfred de Musset Fransa\u2019da;
\nStrindberg \u0130sve\u00e7\u2019te; Ibsen Norve\u00e7\u2019te; \u00c7ehov ve Maksim Gorki Rusya\u2019da; G. Bernard Shaw \u0130rlanda\u2019da
\nsivrilen isimlerdir.<\/p>\n
Y\u00fczy\u0131l\u0131n sonlar\u0131nda, cidd\u00ee tiyatro e\u011filimleri g\u00f6r\u00fcld\u00fc: \u201cGer\u00e7ek\u00e7ilik\u201dten, \u201csimgecilik, izlenimcilik, do\u011falc\u0131l\u0131k,
\ngelecek\u00e7ilik ve d\u0131\u015favurumculuk\u201d gibi modernist ak\u0131mlara ge\u00e7ildi. Bu t\u00fcr oyunlar kolayca seyirci
\n\u00e7ekemedi. Bu y\u00fczden \u201cba\u011f\u0131ms\u0131z tiyatro\u201d ad\u0131yla \u201cba\u011f\u0131ms\u0131z, h\u00fcr, tenkid\u00ee, karamsar\u201d vs. kavramlar\u0131
\ny\u00fcklenen hareketler ba\u015flad\u0131.<\/p>\n
G\u00fcn\u00fcm\u00fcz d\u00fcny\u00e2 tiyatrolar\u0131nda \u201cger\u00e7ek\u00e7ilik\u201d ak\u0131m\u0131 ve sahne d\u00fczeniyle oyunculukta Rus Stanislavski\u2019nin
\n\u201ctabi\u00eeci\u201d anlay\u0131\u015f\u0131 devam etmektedir. Ancak, kar\u015f\u0131 ak\u0131mlar bu \u201cger\u00e7ek\u00e7i, s\u00e2hici dekor \u00f6geleri\u201d yerine
\ntecr\u00fcb\u00ee tiyatroyu uygulamaya koymu\u015flard\u0131r (\u0130sve\u00e7li tasar\u0131mc\u0131 Adolphe Appia, \u0130ngiliz y\u00f6netmen Gordon
\nCraig).<\/p>\n
Tecr\u00fcb\u00ee tiyatroda; yal\u0131n-basit bir sahnede, dramatik sahneler jestlerde topland\u0131 ve \u00e7ok \u00f6zel bir
\n\u0131\u015f\u0131kland\u0131rma y\u00f6ntemi kullan\u0131ld\u0131. Art\u0131k tiyatro ve oyunculuk, tam\u00e2men sembolik bir d\u00fczenden ib\u00e2retti:
\nBuna\u201csoyutlamaya dayal\u0131(m\u00fccerret, abstre) d\u0131\u015favurum anlat\u0131m\u0131\u201d dendi. Craig\u2019in t\u00e2kip\u00e7isi \u201cger\u00e7ek\u00e7i\u201d
\nRus Meyerhold ise oyuncuyu ki\u015filiksiz, s\u00fcper-kukla (biyomekanik oyuncu) durumuna soktu. Ayn\u0131
\n\u201cgelecek\u00e7ilik\u201d ak\u0131m\u0131 \u0130talya\u2019da da etkili oldu. Makinay\u0131 ve mekani\u011fi bir inan\u00e7 h\u00e2line getiren \u201c\u0130talyan
\nger\u00e7ek\u00e7ileri\u201d seyirciyle oyun aras\u0131ndaki gizli duvar\u0131 y\u0131kmaya y\u00f6nelik, k\u0131\u015fk\u0131rt\u0131c\u0131 oyunlar sergilediler.
\nModern tiyatro, Almanya\u2019da \u201cd\u0131\u015favurumculuk\u201d bi\u00e7iminde ve a\u015fa\u011f\u0131 yukar\u0131 ayn\u0131 anlay\u0131\u015ftad\u0131r. Yine r\u00fbh\u00ee
\ngerilimler ve i\u00e7 \u00e7at\u0131\u015fmalar sahnede yer al\u0131r (Ernst Toller; Makina K\u0131r\u0131c\u0131lar\u0131, 1922). Yah\u00fbd\u00ee as\u0131ll\u0131, Alman
\noyun yazar\u0131 Bertholt Brechth (1898-1956) siy\u00e2s\u00ee ve marksist anlay\u0131\u015f\u0131n\u0131 epik tiyatro t\u00fcr\u00fcyle ortaya
\nkoyar. Epik tiyatroda oyuncu, belli bir bildiriyle ortaya \u00e7\u0131kar. Dekor, seyirciyi uyaracak bi\u00e7imdedir.
\nOyuncuyla-seyirci aras\u0131ndaki tart\u0131\u015fma ortam\u0131 d\u00e2im\u00e2 canl\u0131 tutulur. Seyirci, mizah yoluyla d\u00fc\u015f\u00fcnmeye
\ny\u00f6neltilir.<\/p>\n","protected":false},"excerpt":{"rendered":"
Bir sahnede, seyirciler \u00f6n\u00fcnde oyuncular\u0131n temsil etmesi\u00a0maksad\u0131yla yaz\u0131lm\u0131\u015f edeb\u00ee eser. Yunanca \u201ctheatron\u201ddan do\u011fmu\u015ftur. Eskiden temsil verilen yer\u00a0m\u00e2n\u00e2s\u0131na gelirken, daha sonra temsil edilen eser olarak da kullan\u0131lm\u0131\u015ft\u0131r. Temsil yeri ve eser,\u00a0tiyatronun…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[15],"tags":[1788],"class_list":["post-4073","post","type-post","status-publish","format-standard","hentry","category-eglence","tag-tiyatro"],"_links":{"self":[{"href":"https:\/\/www.ilkkimbuldu.com\/index.php?rest_route=\/wp\/v2\/posts\/4073"}],"collection":[{"href":"https:\/\/www.ilkkimbuldu.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ilkkimbuldu.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ilkkimbuldu.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ilkkimbuldu.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4073"}],"version-history":[{"count":6,"href":"https:\/\/www.ilkkimbuldu.com\/index.php?rest_route=\/wp\/v2\/posts\/4073\/revisions"}],"predecessor-version":[{"id":11806,"href":"https:\/\/www.ilkkimbuldu.com\/index.php?rest_route=\/wp\/v2\/posts\/4073\/revisions\/11806"}],"wp:attachment":[{"href":"https:\/\/www.ilkkimbuldu.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4073"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ilkkimbuldu.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4073"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ilkkimbuldu.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4073"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}