Browsing by Author "And, Metin"

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    Eğitimde drama ve Türk çocuklarının ritüel nitelikli oyunlarının eğitimde drama kullanımı
    (Sosyal Bilimler Enstitüsü, 1997) Sağlam, Tülin; And, Metin; Tiyatro
    The basic idea of dramatic education is that the child learns about himself/herself and the world around him/her from his/her experience of "role- taking"; dramatic activity is an effective and natural method of learning. Drama functions through improvisation and dramatic activities. From the first decades of the twentieth century, dramatic education has become increasingly widespread. At the same time, while drama has been growing steadily, different approaches, techniques and activities have been adopted in its use. Meanwhile some other countries, especially Canada and Australia produced their pioneers, who began to adapt the methods to their situation. Writers on the subject employed various terms to describe the methods that they wish to promote, e.g, The Dramatic Method, The Play Way, Creative Dramatics, Playmaking, Child Drama, Drama in Education. We tried to clarify these terms briefly and to do so essentially in a chronological order reflecting the ways in which dramatic education has developed historically. In the second chapter, the relation between the personality configuration and the culture of the society to which the individual belongs has been examined. It has been accepted that cultures affect personality and personalities affect culture. The society derives all its qualities from the personalities of the individuals; and the personality of every individual within the society develops and functions in constant association with its culture. Therefore, it is necessary to know the characteristics of a culture and of an individual's personality in it to make the drama program useful and effective. In the third chapter, rituals and their dramatic nature have been examined first. Rituals, because of their educational value and power to create possibilities for dramatic playing, are one of the materials that could be used as a context and/or structure for drama. Additionally, rituals, as one of the oral cultural heritage ofsocieties reflecting pure (or virtually pure) cultural patterns, could be adapted for use by children so that they may become more familiar with their culture and identify with it. Considering these facts, in the second part of the second chapter, the Turkish children's ritualistic games studied under three headings: games for celebrating the coming of spring, games to make the rain fall, and death and resurrection games..C. YURSEKoeRM - ;.
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    Göstergebilimsel bir yaklaşımla ortaoyunu
    (Sosyal Bilimler Enstitüsü, 1990) Tuna, Erhan; And, Metin; Sanat Tarihi
    In this study, a test eejuipmen has been designed and built for wearing determination on V-type gasoline engines. The tests have been caried out on "ŞAHİN MOTOR YATAKLARI» model 17-M-Motor for different oil types and number of revolution. During the test, the first, number of revolution of crankshaft which one ? of the wearing parameters was' fixed, but different oil types were used. After, secondly, the number bf1 revolution of crankshaft were also changed. At each condition, the influence of wearing on the' mlain bearings was examined. As result, at the end of the test, it can be' said that the less wearing on the main bearings occurs in the test heating medium for different oil types used. KEY WORDS : Main bearing / Wearing -parameter / Manufacturing of test equipment
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    Oyuncunun bedensel anlatım gücü ve bir uygulama
    (Sosyal Bilimler Enstitüsü, 1993) Sönmez, Sibel; And, Metin; Tiyatro
    This study mainly consists of two parts. In the first part the importance of body and movement language in interperonel communication has been emphasized, and various movement codes that could be a model -for the actor/actress- to be performed on the stage by using that lang have been exemplified. In the second part the material which are covered by movement and body language, whicc was presented in the first part, have been evaluated by a sample study and it also include the related documents. The practical study is the thesis itself. 131
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    Tiyatro oyunculuğunda ses ve konuşma eğitimi: Deneysel bir yaklaşım
    (Sosyal Bilimler Enstitüsü, 1997) Suner, Levent; And, Metin; Tiyatro (Oyunculuk)
    Voice is one of the important means of an actor/actress while creating a character. For that reason, the voice of an actor/actress should have the flexibility to interpret all kir, ils of characters. However, the efficiency of a voice has been lessened and limited in area due to many reasons. This research aims to free the actor's/actres' voice which had been repressed by physical and mental blockings, and to help liim/her to have an unlimited voice connected to emotions, and to show how to transform this skill into speech. This research consists of two main chapters: theoretical and practical. In the first cahpter, barriers that limit the voice have been described stage by stage: childhood, adolescence, and adulthood. This chapter also examines the relaxation of the body, breathing, voice and speech which are the basic phases of voice and speech education in theatre. Under the sub-heading of "Speech", Turkish phonetics and phonology have been anaylsed in detail. The second chapter is entirely about the practice. The stages of voice and speech education in theatre acting have been presented through some exercises. And finally the appendices include a detailed information on breathing muscles, photographs on the exercises described in chapter two, and the anatomical features of voice and speech organs.