Research Team

Ocak 17, 2012

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Research Team will be composed of 6 to 8 people who will stay in Medrese all the year round and do an intensive rehearsal during 5 or 6 days a week. Determined by the art director and the advisory board of the Medrese, the Team will work on themes set by these experts. The results of this research will be shared with other actors and theatre enthusiasts in Turkey and the world via performances, workshops and publications. We do not doubt that the Team that will work intensively would create a significant impact on the world of theatre in a short time of period.

Following the audition to be held in January 2013, Research Team is supposed to start studying on the following research topics that have also been approved by the academics of the Advisory Board. The Team is especially expected to improve the pedagogical aspect of works and develop exercises for future workshops. Another important object is recording and publishing those exercises. Those performances that possibly spring from the works of the Team will meet the audience in various cities of Turkey and the world.

Movement and Vocal Maqam

This method is developed by Seyyar Sahne, inspiring from the movement theories of Laban and Delsarte. In this training method, movement is analyzed into its slightest independent variable and after that the actor works on these small details. Once the actor masters on these variables, he/she will be able to play with these variables, distort them, deform them and improvise. Movement Maqam technique does not just enlarge the player’s range of movement, it changes the actor’s perception of the world, as well. While working on a role, an actor who is familiar with this technique, will be able to analyze his/her character’s movement behaviors easily, with the help of Maqam method.

The analysis that is applied on movement in the Movement Maqam method can be applied on voice also. In this method which is developed by Seyyar Sahne, the main goal is to make the actors have control on the slightest detail/varibale of their voice. Vocal Maqam method is also designed to let the actor to discover his/her resonators which he/she does not use or know in the daily life and develope his/her vocal range.

Authentic Songs

Neither in the ancient Greek tragedies, nor in Iran Ta’ziyah form and nor in the traditional Far Eastern Theater; one can imagine a performer who can not sing. The gap between singing and the art of the actor is a modern phenomenon which is the result of the divergence of theater from its sources. For this reason, singing had been one of the main research topics of theatre masters such as Jerzy Grotowski and Eugenio Barba who tried to gather theater with its origins. Research Team will work on the songs with specific vibrational qualities from different traditions such as Afro-Caribbean, Indian, Mongolian, Japanese, Persian and Arabic, while primarily focusing on traditional songs belonging to the cultures of Anatolia.

Solo Performance and Story Telling

The view that theatre has evolved from rituels is often highlighted by the theorists of theatre and anthropologists. This view is so widespread and true that to think of a different origin for the theatre is mostly difficult. On the other hand, it is also possible to find the roots of modern theatre in an individual performance of reading aloud literary texts before the audience or in the act of story telling. In order for developing a comprehensive theatrical theory, this non-ritualistic origin of theatre should also be taken into account.

The second actor and the conversation between the two are the only features of theatre that story telling or reading of a literary text lacks of. Except those, all the characteristics of theatre apply to story telling. Therefore, solo performance proves us that the only irreducible element of theatre is the act of story telling performed by a single actor before/between the audience. It is important to leave the actor alone on the stage in order to discover the essence of theatre. Moreover, a single actor on the stage has more capability than two or more actors to represent the human condition.

It is possible to find the story teller in almost all cultures with different names: Dengbej in the Kurdish culture, Kıssahan or Perdedari in the Persian, Kassas in the Arabic culture, Rapsodos in the Ancient Greek, Aşık or Meddah in the Turkish culture. All have different styles; they tell their stories in a song form or without a song, by dancing or sitting. Reserach Team will work on these traditions of story telling.

Bodily Awareness of the Actor

Modern life has given rise to serious chronic contractions in the human body. These contractions limit the capabilities of movement, action and the creative energy of the person. These can be eliminated only by developing an awareness of one’s body. Working on bodily awareness, leads to amazing transformations on the actor’s perception of space and his/her movement capacity. Research Team will focus on the way of transferring the techniques and philosophies developed by Alexander, Feldenkrais and Hatha Yoga into the work of acting in order to increase the bodily awareness of the actor.

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