87
hareketli olduğu fark edilir.
Çünkü bu tirat ve benzerleri
eylemin başından sonuna
gidişatıyla tam bir teatral yapı
veriyor. Bir şeyin hiçbir hikaye
anlatmadan eylem halinde
sunumu tiyatro değildir.
Herhangi bir hikaye de tiyatro
değildir ama bir hikaye, içinde
eylem barındırıyorsa teatral
özelliğe sahip demektir. Önemli
olan eylemi ortaya çıkarmaktır.
Tiyatro için bu kadar
büyük bir önem taşıyan
“hareketi” nasıl öne
çıkarılmalıdır?
Bu öncelikle metin yazarının
problemidir. Daha sonra
rejisörün, en son da oyuncunun
problemidir… En olmayacak
gibi görünen hikâye dâhil,
her şey tiyatro oyunu olabilir.
Bunun için de en önemli kıstas
harekettir. Bir metin hiçbir
hareket yapmadan oynansa
bile oyun, metnin kendi içindeki
hareketle seyirciyi içine çekebilir.
Bu yüzden metin son derece
önemlidir. Tamamen hareket
üzerine kurgulanmış, başı sonu
olan bir anlatım yapısı olmalı bir
oyun metninin.
Herhangi bir hikâyenin
içindeki hareketi alıp
sahneye taşımak,
onu tiyatro oyununa
dönüştürmek oluyor
diyebilir miyiz?
Yazar bir anlatım içindeki, bir
hikâyedeki felsefi, tasvir içeren
bölümler gibi, eylem dizgesini
durduran anları en aza indirger
ya da tamamını kaldırırsa, ortaya
bambaşka bir şey çıkar. Rejisör
de metinde kurulan o eylemi,
yapısını bozmadan fiziksel bir
eylem kurgusu ile sahneye taşır.
Böylece yazılı herhangi bir metin
bir tiyatro oyunu haline gelir. O
oyun da seyircisiyle sağlam bir
bağ kurar. Bu yüzden tiyatroda
eylem dediğimizde hikâyeden
kopuk bir anlatım olamaz.
O halde tiyatronun diğer
sanatlardan farkı, içindeki
hareket midir?
that it is the problem of the
director and finally the problem
of the actor or actress… Even
the most unlikely of stories can
be turned into a play. The most
important criterion for this is
action. A text can attract the
attention of the viewer with its
inherent action even though it is
acted out without any movement.
That is why, the text is very
important. The text of a play
should have a structure based
solely on action with a narrative
that has a beginning and an end.
So can we say that taking
an action inside any story
and putting it on stage is
sufficient to transform it
into a play?
If the author removes all
philosophical, descriptive
sections inside a story that put
a stop to the action inside, the
text becomes something else
altogether. The director carries
the action in the text to the stage
with a physical action setup
without disrupting its structure.
Thus, any written text can be
turned into a play. And that play
establishes strong bonds with
the viewer. That is why, when
we say action in theater, it is not
something that is disconnected
from the story.
In that case, is it the action
inside that separates
theater from other forms of
art?
Aristoteles makes a comparison
between epos and theater
towards the end of the Poetics.
He asks which one is superior
and then states that these two
art forms are equivalent to each
other. But after that, he decides
that theater is more valuable
since it is a form of art that
establishes direct contact with
the viewer due to the fact that it is
presented on stage by different
people in action. This structure
of action started to find different
forms inside the text once the
modern movements came to
be known and applied in Turkey
starting from the last quarter of
the twenty first century. From
then on the text was somewhere
but the action was somewhere
else.
Theater is a form of art
that has action much like
cinema.
Indeed so… And actually,
today we have reached a point
where theater and cinema has
intertwined especially starting
from the beginning of the
1900’s and throughout the 50’s.
Because theater started to give
life to cinema within itself. For
example, Erwin Piscatur who is
the founder of political theater
placed the road that the actor
walks on as a roll of film behind
the actor. There was a moving
road behind the actor as he
walked in place. Soon after,
everything started to be very
realistic on stage. We are trying
to isolate ourselves from that kind
of realism. Because that realism
is not like in the movies. Think
of it; if you shoot a movie in the
most beautiful cathedral in the
world, the viewer says, “What
a beautiful cathedral. But when
we build the same cathedral on
stage, they would say, “They
have built the same thing, how
nice,”. This indicates that what
is important in theater is that
the convention, meaning the
necessity for the reconciliation
between the viewer and the
stage.
The main objective of
theater is this bond
established with the
audience, right?
You have to place your point of
reconciliation with the audience
on stage. Because the audience
comes there to reconcile with
you. The audience accepts that
what they see on stage is Rome
or Egypt just because you say
so. They come there ready to
accept this. The only thing they
want is a small sign that will ease
the process of believing that what
they see on stage is indeed what
it is told to be. You can act out
the whole world around a phone
booth. Theater provides such
opportunities. You can also make
the audience believe that what
they see on stage is outer space
without using anything. The only
thing that the audience wants is
that there should not be anything
to disturb their acceptance that
what they see on the stage is
indeed outer space.
Just like the reality in the
movies?
There are those who claim that
theater is left behind after the
invention of cinema. This is not
true at all. Just like the invention
of cameras did not cause the
art of painting to lag behind, the
existence of cinema will not harm
the theater. First and foremost,
they are two different art forms
with different techniques. This
