Bati Tiyatrosunda Deforme Bedenin Bir Komedi Unsuru Olarak Yolculugu : Commedia Dell’arte Tiyatrosu Ucube Gosterileri Jacques Lecoq’un Bufon Tiyatrosu

Abstract

Bu tez deforme bedenin algilanis bicimlerinin tarih boyunca yasadigi donusumleri temel alarak sahne uzerinde bir komedi unsuru olarak nasil yorumlandigina odaklanmaktadir. Bu donusumler uc farkli turu ve o turun donemleri ozelinde incelenmistir: 16. yuzyilda ortaya cikan Commedia dell’Arte Tiyatrosu 18. ve 20. yuzyillari arasinda Bati’da yapilan ucube gosterileri ve son olarak 20. yuzyilda Jacques Lecoq tarafindan gelistirilen Bufon Tiyatrosu. Bu uc farkli tur donemsel olarak hem beden deformasyonunun sahne uzerinde degisen kullanim bicimlerini cercevelerken hem de deforme bedenin toplumsal siyasal ve sanatsal kabulunun tarihini de gostermektedir. Ayrica bu uc tur deforme beden odakli olmasinin yaninda onu bir komedi unsuru olarak yorumlamaktadir. Bu noktada deforme bedeni komedi unsuruna donusturen etkenler komedi kuramlari uzerinden incelenmis ve deforme bedeni yorumlayan bakisin gecirdigi algi surecleri hakkinda arastirmalar yapilmistir. Sonuc olarak bu tez deforme bedenin komedi unsuru olarak kullanilis biciminin bir gelenek olusturdugunu Bati tiyatro tarihinde odaklanilan uc farkli tur uzerinden savunmaktadir. Commedia dell’Arte Tiyatrosu’ndan ve ucube gosterilerinden devredilen bu gelenegin de Jacques Lecoq’un Bufon Tiyatrosu’nda yenilikci bir katmanla devam ettigini ileri surmektedir

This thesis focuses on how perception of deformed bodies is interpreted as a comedic element on stage, based on the transformations that have been experienced throughout history. These transformations are studied in three different types and periods: the Commedia dell'Arte Theater in the 16th century, the freak shows in the West between the 18th and 20th centuries, and the Bouffon Theater, developed by Jacques Lecoq in the 20th century. These three different types periodically show the history of the social, political and artistic acceptance of the deformed body as well as framing the changing forms of usage of body deformations on the stage. Moreover, these three types of deformation are not only body-oriented but also can be interpreted it as a comedic element. At this point, the factors that transformed the deformed body into a comedy element are investigated through comedy theories and investigations about the perception processes of the viewing of deformed body interpretation. As a result, this thesis defends through three different kinds of foci that focus on the history of Western theater, in which the deformed body forms a tradition as a comedic element. Depending on this result, this thesis also suggests that the tradition, taken over from the Commedia dell'Arte Theater and freak shows, continues with Jacques Lecoq's Bouffon Theater with an innovative layer.