Journals / Tiyatro Eleştirmenliği ve Dramaturji Bölümü Dergisi / 2026 / Sayı: 30

Theodoros Terzopoulos’ Dionysiac Actor and Her/His Presence on the Stage

Theodoros Terzopoulos’un Dionizyak Oyuncusu ve Sahnedeki Mevcudiyeti

Burcu Halaçoğlu(İstanbul Bilgi Üniversitesi İletişim Fakültesi Sahne ve Gösteri Sanatları Yönetimi, İstanbul, Türkiye)0000-0001-6259-2273
Pages
53–69
Publication Date
2020-07-07
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AI Summary & Key Takeaways

AI Insight
⚡ TL;DR(Too Long; Didn't Read)

This study analyzes the relationship between the presence of the actor and the state of dionysiac ecstasis aimed at by Terzopoulos and examines the ways this relationship can contribute to the presence of the actor on the stage.

📌 3 Key Takeaways

🎯
Objective & Hypothesis:Theodoros Terzopoulos places the actor at the center of his theater and builds his own theater language on actor training and research he developed over the years.
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Key Findings & Data:The main material of his acting technique, which is a product of this training and research process, is actor's body.
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Conclusion & Impact:This study analyzes the relationship between the presence of the actor and the state of dionysiac ecstasis aimed at by Terzopoulos and examines the ways this relationship can contribute to the presence of the actor on the stage.
🔬Design:Research Article
📍Scope:Comprehensive Sample
⚙️Variables:Tiyatro · Oyunculuk · Oyunculuk Tekniği

Abstract

Theodoros Terzopoulos places the actor at the center of his theater and builds his own theater language on actor training and research he developed over the years. The main material of his acting technique, which is a product of this training and research process, is actor's body. In order to reveal the potential of the actor's body, the primary objective is to release the energies that are blocked. Thus, the actor pursues a state of being, an ecstasis through his body which becomes a free energy channel. In the state of ecstasis, the distinction between mind and body disappears completely; the actor experiences a presence in which he involves with his whole body. This study analyzes the relationship between the presence of the actor and the state of dionysiac ecstasis aimed at by Terzopoulos and examines the ways this relationship can contribute to the presence of the actor on the stage.

Özet

Theodoros Terzopoulos tiyatrosunun odağına oyuncuyu koyar ve kendi tiyatro dilini yıllar içinde geliştirdiği oyunculuk eğitim ve araştırması üzerine kurar. Bu eğitim ve araştırma sürecinin bir ürünü olarak ortaya çıkan oyunculuk tekniğinin ana malzemesi oyuncunun bedenidir. Oyuncunun bedeninin sahip olduğu potansiyeli ortaya çıkarmak için öncelikli hedef ise tıkalı durumdaki enerjileri serbest bırakmaktır. Böylece oyuncu, özgür bir enerji kanalına dönüşen bedeni aracılığıyla bir varoluşun, bir esrime halinin peşine düşer. Esrime halinde zihin ve beden ayrımı tümüyle yok olur; oyuncu bütün bedeniyle hissettiği bir mevcudiyeti deneyimler. Bu çalışmada Terzopoulos’un oyunculuk araştırmalarında hedeflediği dionizyak esrime halinin oyuncunun mevcudiyeti ile ilişkisi üzerinde durulmuş, bu ilişkinin oyuncunun sahne üzerindeki mevcudiyetine nasıl bir katkı sunabileceği araştırılmıştır.

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Cite This Article

Halaçoğlu, B. (2020). Theodoros Terzopoulos’ Dionysiac Actor and Her/His Presence on the Stage. Tiyatro Eleştirmenliği ve Dramaturji Bölümü Dergisi, Sayı: 30, 53–69. https://doi.org/10.26650/jtcd.679357

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