Okuş, Dila
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Name Variants
Okuş, Dila
D.,Okuş
D. Okuş
Dila, Okuş
Okus, Dila
D.,Okus
D. Okus
Dila, Okus
Okuş,D.
D.,Okuş
D. Okuş
Dila, Okuş
Okus, Dila
D.,Okus
D. Okus
Dila, Okus
Okuş,D.
Job Title
Misafir Öğr. Gör.
Email Address
Dıla.okus@khas.edu.tr
ORCID ID
Scopus Author ID
Turkish CoHE Profile ID
Google Scholar ID
WoS Researcher ID
Scholarly Output
5
Articles
4
Citation Count
0
Supervised Theses
1
5 results
Scholarly Output Search Results
Now showing 1 - 5 of 5
Article Citation Count: 0Reconsidering Stanislavski and Barba in the light of neuroscience: a comparative study of organic acting(Routledge, 2023) Okuş, DilaThis study, in consideration of contemporary scientific studies, re-examines the acting methods of Konstantin Stanislavski and Eugenio Barba, two directors who are generally considered to represent contrasting perspectives in terms of performers’ physical appearance on stage. The meeting point of these two theatre practitioners’ techniques is based on impulse and they both aim to realize an organic process in acting. The findings in contemporary studies in neuroscience which present to a large extent how the human organism functions, help us to reconsider the constitutive elements in the acting process. This article analyses the technical processes of creating impulse in both Barba and Stanislavski’s works with reference to several neuroscientific studies. Antonio Damasio’s Feeling of What Happens helps explain how motor functions in human organisms work when the senses are stimulated. Bessel Van Der Kolk’s The Body Keeps the Score highlights the function of scored sense impressions when an organism encounters stimuli that may re-activate them. Christian Keyser’s The Emphatic Brain mentions connections between intention and action. Furthermore, works by Damasio, Van Der Kolk and Keysers help us reconsider the crucial function of images in both Stanislavski’s and Barba’s techniques. The main goal of this article is to re-examine Stanislavski and Barba’s critical concepts in acting methods in the light of contemporary neuroscience and to highlight to what extent these impulse-based and organic techniques differ from each other in the training process and what remains common ground. © 2023 Informa UK Limited, trading as Taylor & Francis Group.Article Citation Count: 0Eugenio Barba and Extra-Daily Scenic Behaviour: Influences of Stanislavski, Meyerhold and Grotowski(2020) Okuş, DilaThree directors who influenced 20th century theatre, Konstantin Stanislavski, Vsevolod Meyerhold and Jerzy Grotowski, and they each conducted comprehensive studies on the position of acting through theatrical aesthetic. In order to realize this theatrical aesthetic, these directors emphasized the need for actors to practice systematic exercises and develop particular scenic behaviour, which is different from daily behaviour. Their work has paved the way for various theoretical studies on acting. The actor who is going to act within a reality that fictionalized on stage, no matter the strength of its relationship with daily reality, has to leave the automatized daily behaviour behind and develop a technique that is built upon the necessities of the stage context. In this article, the basis of the extra-daily scenic behaviour of actors in the Odin Theatre is dealt with in the light of approaches of directors who strongly affected the theatre approach that developed through the 20th century: namely Stanislavski, Meyerhold and Grotowski.Article Citation Count: 0Reconsidering Stanislavski and Barba in the light of neuroscience: a comparative study of organic acting(Routledge Journals, Taylor & Francis Ltd, 2023) Okuş, Dila; Sarikartal, CetinThis study, in consideration of contemporary scientific studies, re-examines the acting methods of Konstantin Stanislavski and Eugenio Barba, two directors who are generally considered to represent contrasting perspectives in terms of performers' physical appearance on stage. The meeting point of these two theatre practitioners' techniques is based on impulse and they both aim to realize an organic process in acting. The findings in contemporary studies in neuroscience which present to a large extent how the human organism functions, help us to reconsider the constitutive elements in the acting process. This article analyses the technical processes of creating impulse in both Barba and Stanislavski's works with reference to several neuroscientific studies. Antonio Damasio's Feeling of What Happens helps explain how motor functions in human organisms work when the senses are stimulated. Bessel Van Der Kolk's The Body Keeps the Score highlights the function of scored sense impressions when an organism encounters stimuli that may re-activate them. Christian Keyser's The Emphatic Brain mentions connections between intention and action. Furthermore, works by Damasio, Van Der Kolk and Keysers help us reconsider the crucial function of images in both Stanislavski's and Barba's techniques. The main goal of this article is to re-examine Stanislavski and Barba's critical concepts in acting methods in the light of contemporary neuroscience and to highlight to what extent these impulse-based and organic techniques differ from each other in the training process and what remains common ground.Master Thesis Gündelik-dışı sahne davranışı: Odin Tiyatrosu'nda oyunculuk çalışması(Kadir Has Üniversitesi, 2020) Okuş, Dila; Sarıkartal, Çetin Kemal; Sarıkartal, ÇetinDirectors who affected 20th century theatre thought, Konstantin Stanislavsky, Vsevolod Meyerhold and Jerzy Grotowski, conducted comprehensive studies on the position of acting through theatrical aesthetic. In order to realize the theatrical aesthetic that they aim, those theatre people emphasized actors need to practice systematic exercises and develop particular stage behaviour different than daily behaviour. Thanks to all their studies, theoretical studies on acting had led up. The actor who is going to act among the reality that fictionalized on theatre stage, no matter the strength of its relationship with daily reality, has to leave the automatized daily behaviour and develop a technique that is built upon the necessities of the stage context. In that sense, the form and quality of the communication between the actor and the spectator absolutely dependent on the actors technique. In this dissertation, the basis of extra-daily stage behaviour of actors in Odin Theatre and the recurring principles as the foundation of actors' technique is being mentioned in consideration of approaches and studies of directors who strongly affected the theatre approach that developed through 20th century Stanislavsky, Meyerhold and Grotowski. The relationship between the actor and the spectator in Odin performances is being analysed through acting practices, with the help of the concept of organic dramaturgy, which is mentioned by Eugenio Barba. The practice of creation and elaboration of score of the actor, who developed extra-daily stage behaviour through acting exercises, is being taken as a theatrical tool and the actors communication with the spectator is being discussed through this activity.Article Citation Count: 01880-1920 Arası İstanbul’daki Tulûat Tiyatrolarında Kantocu Kadınlar(2022) Okuş, DilaKanto 19. yüzyıl İstanbul’unda popülerleşen bir sahne gösterisidir. Biçimsel olarak genellikle bir kadın sanatçının sahnede dans ederek şarkı söylemesi olarak tarif edilir. Kanto halkın büyük bölümünün ilgisini kazanmış ve kanto gösterilerine çıkan kadınlar geniş hayran kitleleri edinmişlerdir. Ancak kanto bazı kesimler tarafından hafif bir gösteri olarak da nitelenmiş, kadınların sahne üzerinde cilveli hareketler icra etmeleri bayağı ve ahlaksızca bulunmuştur. Kanto gösterilerine ve kantoculara yöneltilen eleştiriler, dönemin Osmanlı toplumunu şekillendiren kültürel bağlamdan kaynaklanmaktadır. Bu çalışmada 1880-1920 yılları arasında kadınların tuluat gösterilerinin bir parçası olarak sahneledikleri kanto gösterileri, icra ve kültürel bağlam çerçevesinde incelenecektir. Çalışmada kanto sanatının önde gelen isimlerinden Peruz Terzekyan, Şamram Kelleciyan, Küçük Virjin ve Amelya Hanım’ın yaşam öykülerine ve çalışmalarına odaklanılacaktır. Bu yaşam öykülerindeki ortaklaşan unsurlardan yararlanarak, kanto sanatçılarının kadın kimliklerinin kanto icrasına ve kantonun seyirciler tarafından alımlanmasına etkileri ortaya konacaktır.
