Halk oyunlarının sahnelenmesinde dekor-kostüm tasarım ve uygulama yöntemi üzerine bir çalışma

Abstract

ÖZET Doğal ortamında eğlenmenin, bazı sosyal ilişkilerin ve duygu anlatımının bir aracı olarak işlev gören halk oyunları ; yapay bir ortam olan sahneye getirildiğinde, hem oynayan hem de izleyen için araç olmaktan çıkıp, amaç haline gelir. Bu durum ortamı ve işlevi değişen halk oyunlarımızda kaçınılmaz bazı değişikliklere yol açar. `Halk Oyunlarının Sahnelenmesinde Dekor-Kostüm Tasarım ve Uygulama Yöntemi Üzerine bir Çalışma` konulu bu tezde, tasarım ve uygulama aşamaları alt başlıkları ile açıklanmaktadır. Dekor ve Kostüm tasarımındaki aşamalarda. Oyunun tanımlanması, sahnenin tanımlanması, sahne teknik olanakları, sahne uygulama olanakları, dekor stilleri, dekor değiştirme teknikleri ve oyunun sunuş şekilleri gibi konular ele alınarak değerlendirilmekte ve problem olan noktalarda çözümler getirilmektedir. Dekor ve kostüm tasarımından sonra uygulama aşamasında izlenecek yol, sistemli bir şekilde açıklanmaktadır. Bu çalışmada, dekor tasarım aşamasında ele alınan sahne çizimleri, İstanbul Devlet Tiyatrosu Atatürk Kültür merkezi Büyük Salonu'na aittir. Çünkü, bu salon; Opera ve bale (dans) adına tasarlanmış en geniş teknik olanaklara sahip tek salondur. -vıı-

SUMMARY Turkish Folk Dances carry the history, geography and climatic structure, the costumes, jewelry, the tools used and the lifestyle of the people living in the region that particular dance pertains to; linked with these characteristics the movements all unique to the people of the district are products of the folkloric culture reflected in the figures and steps of the folk dance. The folk dances that reflect in a style all their own, create without any artistic worries the esthetic notions of the region they belong to.In time the natural particulars of the part of the country which they represent begin to be part of the dances they are the inspiration of and maybe subjected to changes which shaw the esthetic taste of larger masse. This is a need that arises by itself mot of the time. In line with the peculiarities it bears in itself, folk dances are appealing to the eye, the ear and to the senses at the same time; to represent on the scene the beauty all their own, the richness of their steps, the liveliness of their music and colourful costumes folk dances have to get their share of the staging techniques in order to put on a applause worthy performance. What can be seen from the implementations up to this day that due to concrete in their nature they have to be taken up as a whole, weight is put on certain qualities that give folk dances a stagnant character. Since no serious efforts are spent in preparing the decors and costumes that are of major importance for the staging of folk dances, important problems arise in this area. We are well aware that `scene decors` and `costumes` are in themselves very important links of the complicated phenomeron we know as theatrical arts. The general environmental arrangement and the costumes worn by the dancers give us tips about the place where that particular folk dance is danced. These are major characteristics of the putting on stage of a certain deed that appeals to the eyes and feelings of the spectator. The dance, its music, its dancers, its decor and its costumes form a whole together with the viewers. If one of these factors does not go right it has a delrimental effect on the total and casts a bad sadow on the whole performance. They cannot be imagined and do not exist apart of each other. This may have its limits. Decors and costumes convey to the spectator the mood of the dancers and the atmosphere of the moment with visual elements, style, form, colour, technique and lighting. Decor and costumes which are considered the elements that form the first link between the folk dance and the spectator cannot be considered apart. Staging -Vlll-is a thealrical art that in itself is an applicable art of great importance, that has its unique place in the whole. Decors and Costumes constitute the visual and plastic side of theatrical arts. With their forms, their styles, their dispersal and composition in the void of the stage, their colours and light they are created to put forth the show and the main idea of the show thus awakening the effect desired. The first thing to be done at the staging phase is to thoroughly design down to their finest details the decor and costumes required. Because decors and costumes designed with mastery help to a great extent the events taking place on the stage. Decors and costumes are planned by taking into consideration the creative talent of the designer and the value they repsenet on the stage. That feeling that.fills the stage is always a great factor in the arrangement of the decor and the costumes. Stage designing remains under the influence of many side -factors before turning into a show and reaches its succesful target after gliding between them. Modern stages are equipped with various technical devices that help to change decors. Technique in our day and age has turned into an integral part of theatrical art. The stage designer must be aware of and get the fullest advantage of the possibilities presented, and make use of them in all their details. Thus the creation of the atmosphere needed can be realized in the most satisfying manner. Technique is a very powerful factor if used well. To reinforce a stage show with the right decors and costumes enriches it to a great degree and gives this theatrical art the chance to get complemented with other arts. Yet care must be taken so that technique does not get the upperhand, technique must never be the sovereign over art. The most important element for the designer is openness. The designer brings as the first characteristic of his creativeness the feeling of art. To really know the show, a sensitivity for the stage, the ability to use the emptiness of the stage, a rich knowledge of forms, skill, are factors that constitute the aim of creativeness. Designing requires a very long road of work from the drawing of the model to its application on the maquette and its appearance on the stage. The change of landscapes by using technique is a task to be fulfilled by the designer. To increase the impact of the show the change of the backgrounds have to be arranged in a -IX-meaningful and effective way, the rythm of the activities that follow each other on stage must be in rythm with the change of scenery. In the art of folk dancing important losses in value cannot be accepted for the sake of visual phantasies. In taking decision the rythm of the dance, the harmony of the music and the dance itself are given priority. The utilization of colours in order to create the effect desired on stage is also a major factor to be considered. The passage from warm and soft colours to cold and hard ones or the opposite is obtained by the changing nature of colours But this variation is effected not only with the changing of background scenery but also by varying harmoniously the colours of lights and costumes to create the desired atmosphere. `Scenic decor` is the mülti-dimentional arrangement of dance areas arranged as different places and in various sizes. Expressed in other words, the stage is arranged in such a manner so as to satisfy the needs of the folk dance staged, meets the requirements of the dancers and the show put-on by them and the atmosphere of the show of the moments they live; as a designers art. Painting, sculpture, architecture, interior decoration are plastic arts that by usign technique and the possibilities of materials take as the main inspiration of the scenic decor of the three dimentional space, reality and nature. The designer who takes this principle as his basic point of departure, conducts his research and his studies according to this basic point. The person staging the folkloric show makes the decision regarding ideas, style and form. He/she prepares his/her sketches in line with the rehearsals of the show. The sketches drawn are turned into maquettes.Later on the working sketches, tehnical drawings and details are distributed to the workshops involved. In this manner and as a result of the multi-faceted work performed the decors and costumes come into being. Each designer acts in his own system of working and personal style while turning from imagination to fact this fruit of the mind. While working on this thesis I have tried to disclose the working method each individual designer tried to apply in the field of folk dancing. The phases of such a study are being studied from the stage of collecting data, of assessing same, the solution of the data assessed, of explanations, examples and sketches all factors that support our subject. -x-This theisis titled `A study on the staging, decors-costumes, design and Implementation Methods of putting on stage of folkloric shows` consists in summary of the following subjects. The designing period of decors and costumes is studied under 3 titles. These are the accumulation of knowledge for the work of designing, the assessment of such knowledge and the finding of solutions. Each of this issues is taken up sparately from the aspect of the folk dance in question and the stage that exists. In the part of accumulation of knowledge : From the aspect of the folk-dance in question; the determination of the type of folk-dance to be performed; the determination of the region and the presentation of the folk-dance all the knowledge required is acquired by taking into consideration the above issues. From the aspect of the stage : The environement in which the folkloric show is to be staged, the area in which the folk-dance is to be performed, the sketches of the room and of the places for spectators in accordance with the visual properties of the Hall, a small scale model of the technical and lighting possibilites of the stage, various units in the decor and costume workshops, knowledge has to be acquired on all the above subjects and is given in this part of the thesis. In the part of knowledge assessment : Form the aspect of the folk-dance; Turkish Folkdances are classified according to their characters as Halay, Bar, Horon, Zeybek, teke zortlaması, kaşık, Bergi, Mergi, Semah, Güvende and Hora and knowledge is given about each of these different type of the authentic and coreographed verions of folkloric dances and their presentation, in this aspect the particulars to be taken-up are classified. It is pointed out that the coustumes of that particular regin have to be chosen and tailored with the same meticulousness. From the aspect of the stage; the stage models used in the staging of folkloric shows are introduced, the necessary explanations are made, the favourable and negative effects of the building in which the stage for the show is -XI-staged have on the show itself are being discussed by giving examples. Besides that decor types used in other theartircal arts are being introduced. The decor variation schemes that can be designed at the rate of the stage technique possibilities and their styles are discussed, the techinque systems that make possible such changes are defined. In the part of solutions: From the aspect of the folk-dance; the solution put forth by the designer in relation with the knowledge accumulated and assessed application principles for the folk-dance chosen and application principles for the costumes, application principles suggested by the designer, application principles for ligthining are discussed. From the aspect of the stage: In line with the recommendations of the designer, the particulars of the materials that are planned to be used on the stage, principles of natural and artificial lighting, explanations are also given on the colur principles to be used in materials and in lights. In studying the decor and costume process we come to the phase of implementation. The way in which to pursue third dimentional studies in decor drawings and costumes, we nedd project data, costume drwings and toher knowledge to be followed up in three dimensional studies. -Xll-