{"id":2478,"date":"2017-10-19T13:46:27","date_gmt":"2017-10-19T10:46:27","guid":{"rendered":"http:\/\/insanveinsan.org\/?p=2478"},"modified":"2018-04-09T18:48:52","modified_gmt":"2018-04-09T15:48:52","slug":"geleneksel-japon-kabuki-dans-tiyatrosunun-aykiri-bedenleri-onnagatalar","status":"publish","type":"post","link":"https:\/\/www.insanveinsan.org\/en\/geleneksel-japon-kabuki-dans-tiyatrosunun-aykiri-bedenleri-onnagatalar\/","title":{"rendered":"Traversal Bodies of Traditional Japanese Kabuki Dance Theatre \u201cOnnagatas\u201d"},"content":{"rendered":"

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Abstract: <\/strong> Kabuki dance theatre is one of the most important performance arts of Japan culture for four hundred years. This lyric theatre style is extremly stylistic and based on enchanting visual and sound performance. Tactual sense and eyesight are stimulated through high and low music sound, effects and moving stage in Kabuki. Make-up is one of the most important presentation mediums for introducing and emphasising the characters. The power of performance depends on perfection of acting in this avangard theatre style. The term Onnagata is a situation and it means personation of woman characters by man performers. In Onnagata situation, actors don\u2019t pretend like a woman, they represent the woman character like a real woman. In this point, personation of a woman character is more important as real than feminen beauty or aesthetic of her. This study, emphasizes on personation,, presentation and body constitution of onnagata body as a differentiated body representation. <\/p>\n

Keywords: <\/strong> Performance, Avangarde, Lyric play, Make-up, Costume.<\/p>\n

Geleneksel Japon Kabuki Dans Tiyatrosunun Ayk\u0131r\u0131 Bedenleri \u201cOnnagatalar\u201d <\/h1>\n

\u00d6z: <\/strong> Kabuki dans tiyatrosu Japonya\u2019n\u0131n, tarihi d\u00f6rt asra kadar uzanan en \u00f6nemli g\u00f6steri sanatlar\u0131ndan birisidir. Bu lirik tiyatro tarz\u0131 son derece stilistiktir ve etkileyici g\u00f6rsellere ve ses performanslar\u0131na dayan\u0131r. Kabuki dans tiyatrosunda dokunma duyusu ve bak\u0131\u015f, y\u00fcksek-al\u00e7ak m\u00fczik sesi ve haraketli sahnelerle uyar\u0131l\u0131r. Bu avangard tiyatro stilinde makyaj, rol yapma g\u00fcc\u00fcyle ba\u011flant\u0131l\u0131 olarak performans e\u015fli\u011finde kullan\u0131l\u0131r. Bu durum, karakterlerin temsilinde ve vurgulanmas\u0131nda en \u00f6nemli ara\u00e7lardan birisidir. Onnagata terimi, kad\u0131n karakterlerin erkek oyuncular taraf\u0131ndan canland\u0131r\u0131lmas\u0131d\u0131r. Onnagata rol\u00fcndeki erkek oyuncu kad\u0131n taklidi yapmaz, ger\u00e7ek bir kad\u0131nm\u0131\u015f gibi kad\u0131n karakteri temsil eder. Bu noktada, bir kad\u0131n karakterin canland\u0131r\u0131lmas\u0131, kad\u0131n\u0131n feminen g\u00fczelli\u011finden ve esteti\u011finden daha da \u00f6nemli hale gelir. Bu \u00e7al\u0131\u015fma, onnagatal\u0131\u011f\u0131n Kabuki sahnesinde canland\u0131r\u0131lmas\u0131, temsili, onnagata bedeninin kurulu\u015fu ve farkl\u0131 bir beden sunumu olarak \u00f6nemi \u00fczerinde durmaktad\u0131r. \u00c7al\u0131\u015fmada, tiyatral ileti\u015fim modeli arac\u0131l\u0131\u011f\u0131yla onnagata temsillerinin fiziksel ve i\u00e7eriksel boyutu analiz edilmi\u015ftir.<\/p>\n

Anahtar kelimeler: <\/strong> Performans, Avangard, Lirik oyun, Makyaj, Kost\u00fcm.<\/p>\n

<\/p>","protected":false},"excerpt":{"rendered":"

Yasemin K\u0131l\u0131n\u00e7arslan<\/p>\n

\n

DOI: 10.29224\/insanveinsan.312773<\/a><\/p>\n

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Year 4, Issue 14, Fall 2017<\/a><\/p>\n

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\"\"
\nTam metin \/ Full text
\n(Turkish)<\/p>\n

\"Creative<\/a>
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License<\/a>.<\/p>\n

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