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'Bir Işik Verin Bana' Filmi Bağlaminda Stanislavski

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'Bir Işik Verin Bana' Filmi Bağlaminda Stanislavski ‘BİR IŞIK VERİN BANA’ FİLMİ BAĞLAMINDA STANİSLAVSKİ YÖNTEMİNİN TİYATRO VE SİNEMA OYUNCULUĞUNA YAKLAŞIMI Handan BAYINDIR TUNA 141177196 SANATTA YETERLİK TEZİ Güzel Sanatlar Ana Sanat Dalı Sinema Sanatta Yeterlik Programı Danışman:Prof.Dr.Selahattin YILDIZ İstanbul T.C. Maltepe Üniversitesi Sosyal Bilimler Enstitüsü Haziran, 2018 ‘BİR IŞIK VERİN BANA’ FİLMİ BAĞLAMINDA STANİSLAVSKİ YÖNTEMİNİN TİYATRO VE SİNEMA OYUNCULUĞUNA YAKLAŞIMI Handan BAYINDIR TUNA 141177196 SANATTA YETERLİK TEZİ Güzel Sanatlar Ana Sanat Dalı Sinema Sanatta Yeterlik Programı Danışman:Prof.Dr.Selahattin YILDIZ İstanbul T.C. Maltepe Üniversitesi Sosyal Bilimler Enstitüsü Haziran, 2018 İÇİNDEKİLER JÜRİ VE ENSTİTÜ ONAYI……………………………………………………......ii ETİK İLKE VE KURALLARA UYUM BEYANI…………………………………iii İNTİHAL RAPORU…………………………………………………………...........iv TEŞEKKÜR………………………………………………………………………....v ÖZ…………………………………………………………………………………...vi ABSTRACT………………………………………………………………………...vii İÇİNDEKİLER……………………………………………………………………..viii ŞEKİLLER LİSTESİ………………………………………………………………..ix ÖZGEÇMİŞ………………………………………………………………………….x GİRİŞ…………………………………………………………………………….…..1 BÖLÜM 1: TİYATRO VE SİNEMA’DA DRAMATİK YAPI………………..…...5 BÖLÜM 2: OYUNCULUK SANATINA YAKLAŞIMINDA STANİSLAVSKİ YÖNTEMİ……….................................................26 2.1. Stanislavski ve Tiyatro Sanatına Yaklaşımı......................................................28 2.2. Oyuncunun Eğitiminde Stanislavski Sistemi………………….........................34 2.3. Stanislavski’nin Ardılları……….......................................................................43 2.3.1. Stella ADLER……………………………………………………………….44 2.3.2. Richard BOLESLAVSKİ…………………………………………………...47 2.3.3. Sonia MOORE……………………………………………………………....48 2.3.4. Lee STRASBERG…………………………………………………………..50 2.3.5. Maria OUSPENKAYA……………………………………………………...52 2.3.6. Sanford MEISNER………………………………………………….............54 2.3.7. Michael CHEKHOV………………………………………………………...56 2.4. Stanislavski Oyunculuk Yöntemi ile Gerçekleşen Seçili Tiyatro ve Sinema Yapıtı Örnekleri……………………………………………………………….60 viii BÖLÜM 3: HARLAN ELLİSON’UN KORKUNUN BÜTÜN SESLERİ ADLI ÖYKÜSÜNDEN HAREKETLE ‘BİR IŞIK VERİN BANA’ ADLI FİLMİN YAPIM SÜREÇLERİ…………………………………………….. …79 3.1. Korkunun Bütün Sesleri Adlı Öykünün Orjinal Metni………………………..79 3.2. Sinopsis………………………………………………………………………..88 3.3.Tretman…………………………………………………………………….......91 3.4. Senaryo…………………………………………………………………..........95 3.5. ÇekimSenaryosu……………………………………………………................107 3.6.‘Bir Işık Verin Bana’ Adlı Kısa Filmin Çekim ve Yapım Aşamaları……........142 SONUÇ……………………………………………………..……………………..144 KAYNAKÇA………………………………………………………………...........148 ÖZGEÇMİŞ Handan BAYINDIR TUNA Sinema Ana Sanat Dalı Eğitim Derece Yıl Üniversite, Enstitü, Anabilim/Anasanat Dalı Y.Ls. 1997 Anadolu Üniversitesi, Sosyal Bilimler Enstitüsü Sahne Sanatları Bölümü. viii Ls. 1993 Anadolu Üniversitesi, Devlet Konservatuvarı, Sahne Sanatları Bölümü, Oyunculuk Ana Sanat Dalı Lise 1986 İzmit Lisesi İş/İstihdam Yıl Görev 1993 Öğretim Görevlisi, Anadolu Üniversitesi, Devlet Konservatuvarı, Sahne Bölümü, Oyunculuk Ana Sanat Dalı. 2002 Öğretim Görevlisi, Çanakkale Onsekiz Mart Üniversitesi, Sahne ve Görüntü SanatlarıBölümü. 2012 Öğretim Görevlisi, İstanbul Yeni Yüzyıl Üniversitesi Sahne Sanatları Bölümü Mesleki Birlik/Dernek Üyelikleri Yıl Kurum Alınan Burs ve Ödüller Yıl Kurum Yayınlar ve Diğer Bilimsel/Sanatsal Faaliyetler Bayındır-Tuna, H. (2000).‘Bugünün Sanatıyla Yüzleşmek”, Edebiyat Güncesi, Sayı:18, s: 12-14Bayındır-Tuna, H. (1997).‘Anonim İktidar ve Siyasal Kimlik”, Edebiyat Güncesi, Sayı, 9-10, s: 38-41, Bayındır-Tuna, H. (1999). ‘Ve Bu Nedenle İnsan”, Edebiyat Güncesi, Sayı:13, s:29-32, Kasım-Aralı Bayındır-Tuna, H. (2012). “A Study On Oğuz Atay’s 'Oyunlarla Yaşayanlar' and Necip Fazıl Kısakürek's 'Bir Adam Yaratmak' in The Light of William Shakespeare’s Style” IV. INTERNATIONAL COMPARATIVE LITERATURE CONGRESSMeeting of Cultures and Values KIRIKKALE UNIVERSITY 01-03 Kasım / November Bayındır-Tuna, H. (2012). ”William Shakespeare İzleğinde, Oğuz Atay'ın 'Oyunlarla Yaşayanlar' Oyunu İle Necip Fazıl Kısakürek’in ‘Bir Adam Yaratmak’ Adlı Oyununda Bireyin Yazgısı Ve Oyun İçinde Oyun Olgusuna Bir Bakış” IV. Internatioanal Comparative Literature Congress. Meeting of Cultures and Values. Kırıkkale Üniversitesi. 01-03 Kasım / November Bayındır-Tuna, H. (2013) MEMET BAYDUR OYUNLARINDA, KADIN GÖZÜYLE ERKEK DÜNYASI VE KADINA YÖNELİK ŞİDDETİN DİLİ. I.ULUSLARARASI KADINA YÖNELİK ŞİDDETTE MULTİDİSİPLİNER YAKLAŞIMLAR KONGRESİ 7-8 Aralık 2013 Kadir Has Üniversitesiwww.kadinasiddet2013.org Bayındır-Tuna, H. (2016). “G.Büchner’in Toplum Dışında Kalmış-Toplumun Dışladığı “Woyzeck” Oyunundaki Woyzeck’in M. Foucault’un İktidar Söylemi İle Teması”. 2st International Congress on Current Approaches in Communication, Literature, Music and Art Studies 24-25 March x Kişisel Bilgiler Doğum yeri ve : Erzincan, 1969 Cinsiyet: K Yılı Yabancı diller : İngilizce (İyi) GSM / e-posta : 05323380845 / handan.bayindirtuna@yenıyuzyıl,edu.tr ŞEKİLLER LİSTESİ 2.4.1. Ian McKLeen dilenci rolünde. 2.4.2. Ian McKLeen provaları sırasında üzerindeki dilenci kıyafetiyle. 2.4.3. Inconnu film afişi. ix 2.4.4. Matthieu Delaporte (Sebastian Nicholas) kılık değiştirirken. 2.4.5. Matthieu Delaporte (Sebastian Nicholas) kılık değiştirirken. 2.4.6. Matthieu Delaporte (Sebastian Nicholas) protez makyaj yapımında. 2.4.7. Matthieu Delaporte (Sebastian Nicholas) Henri de Montalde olabilmek için onu gözlemlerken. 2.4.8. Matthieu Delaporte (Sebastian Nicholas) Henri de Montalde kılılığı ve kişiliğine bürünürken. 2.4.9. Bücür filminde Taner Barlas sokakta köpeklerle arkadaşlık ederken. 2.4.10. Bücür filminde Taner Barlas sette iken. 2.4 11. Taxi Driver filmi Afişi 1976. 2.4.12. Taxi Driver filmi Robert de Niro Travis Bickle rolü ile taksi şoförünü canlandırırken. 2.4.13. Daniel Day-Lewis Akademi ödüllerinde En İyi Erkek Oyuncu Oscarı’nın sahibi olurken. 2.4.14. Daniel Day-Lewis Son Mohikan adlı filmde. 2.4.15. Daniel Day-Lewis The Age of Innocence filminde N.Archer rolünde. 2.4.16. Daniel Day-Lewis In The Name of The Father (1993) Gery Conlon rolünde. 2.4.17. Daniel Day-Lewis The Crucible (1996) 17.yy’lın hijyen standartlarını anlamak için yıkanmadan yaşadığı film kesiti. 2.4.18. Daniel Day-Lewis Gans Of New York Filmi ve Butcher rolünde ix TEŞEKKÜR ‘Bir Işık Verin Bana’ adlı kısa film projem ve yürütmüş olduğum tez çalışmamdaki yaklaşımın, branşım olan çalışma alanımın ‘Tiyatro Oyunculuğu’ üzerine olduğunu düşünecek olursak, sinemanın dramatik yapı çerçevesinde benzerliklerinin tiyatro ile neredeyse aynı özellikte olduğunu yapım süreçlerinde farklılıklar gösterdiğini, bir o kadar da heyecan verici ve sınırları zorlayıcı olduğunu söylemek yerinde olacaktır. Sinema ve Tiyatro sanatı ile ilgili olarak yaşadığım bu süreçte ufkumu açan ve bana farklı düşünme biçimleri geliştirmemi sağlayan Sinema Sanatı’na çok şey borçluyum. Bu süreçte edindiğim birikim ve tecrübenin bana çok şey kazandırdığını düşünerek, kendimi şanslı görüyorum. Yaşadığım tecrübe ve birikimlerimde, ufkumu genişleten, bana yol gösteren, çalışmam boyunca beni bir an olsun yalnız bırakmayan, desteğini, bilgisini, sabrını ve tecrübesini benimle paylaşan çok kıymetli ve saygı değer Tez Danışma’nım Prof. Dr.Selahattin YILDIZ hocama çok teşekkür ediyorum. Harlan Ellison’un ‘Korkunun Bütün Sesleri’ adlı öyküsünün yaşamımda büyük bir önemi var. Bu öyküyü 1985 yılında benimle paylaşan ve rafa kaldırdığımız bu öykünün ancak yıllar sonra 2018 yılında çekme fırsatı bulduğum bu kısa filmin anahtarını verdiği ve o kapıyı açmamda bana yardım ettiği sevgili abim Dr.Süha BAYINDIR’a teşekkür ediyorum. v Filmin yapım aşamasından bu yana beni hiç yalnız bırakmayan, çok büyük emek sarfeden Başrol oyuncum, sevgili eşim, hayat arkadaşım Prof.Dr.Erhan TUNA’ya çok teşekkür ediyorum. Sinema Sanatta Yeterlik Programı kapsamında, verilen eğitim sürecinde büyük bir özveriyle birikimlerini bizden esirgemeyen, bıkmadan usanmadan bilgilerini ve deneyimlerini bizlerle paylaşan duayen hocalarımız, Prof.Dr.Semir ASLANYÜREK, Derviş ZAİM ve Dr.Öğretim Üyesi Hakan AYTEKİN’e teşekkürlerimi bir borç bilirim. Yapım aşamasında kameraman İbrahim AY’a, Kurgusunu birlikte gece gündüz sabırla çalışıp gerçekleştirdiğimiz Fırat GÜLER’e ve Gülşah BATIBEK’e Filmin Foley ve ses mixajını yapan Vehbi Can UYAROĞLU’na Filmin Müziğini gerçekleştiren Evren GÜLSEVEN’e, ve bitmek bilmeyen sabrı ile filmin Color’ını yapan Ayhan SONYÜREK’e, beni bir an olsun yalnız bırakmayan Tiyatro Bölüm’ü öğrencilerime, Maltepe Üniversitesi’nin Platolarını ve çeşitli mekanlarını bizlere kolaylıkla tahsis eden Maltepe Üniversitesi Güzel Sanatlar Fakültesi Dekanlığı’na ve yine teçhizat ve mekanların kullanımında kolaylık elde ettiğimiz İstanbul Yeni Yüzyıl Üniversitesi Sinema TV Bölüm Başkanı çok değerli hocam Prof.Dr.Dursun GÖKDAĞ’a ve ayrıca İstanbul Yeni Yüzyıl Üniversitesi Öğretim üyelerinden Doktor Öğretim Üyesi Zafer ARI ve Doktor Öğretim Üyesi Ayten ARIKAN’a, Güzel Sanatlar Fakültesi Dekanlığı’na, Mekan kullanımı aşamasında kapılarını bizlere açan Maltepe Belediyesi’ne ve Kartal Sanat İşliği’ne teşekkür ederim. Handan BAYINDIR TUNA Haziran, 2018 v ÖZ ‘BİR IŞIK VERİN BANA’ FİLMİ BAĞLAMINDA STANİSLAVSKİ YÖNTEMİNİN TİYATRO VE SİNEMA OYUNCULUĞUNA YAKLAŞIMI Handan BAYINDIR TUNA Güzel Sanatlar Ana Sanat Dalı Sinema Sanatta Yeterlik Programı Danışman: Prof.Dr.Selahattin YILDIZ T.C. Maltepe Üniversitesi, Sosyal Bilimler Enstitüsü, 2018 Sinema ve tiyatro sanatının varoluşsal çizgileri, dramatik yapı ekseninde birbiriyle örtüşen benzerlikler taşımalarının yanı sıra uyarlanış
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