Elazığ Yöresi Dramatik - Seyirlik Ve Temsili Oyunlarının İncelenmesi

Abstract

Elazığ Yöresi Dramatik-Seyirlik ve Temsili Oyunları'nın İncelenmesine yönelik bulunan bu çalışmada asıl konu, unutulmaya yüz tutmuş kültür değerlerimizden köy- seyirlik ve dramatik oyunlarımızın Elazığ folkloru içerisindeki yeri, diğer kültür unsurları ve ürünlerinden etkileşerek varyantları ile birlikte incelenmesi, değişik bölgelerde dram karakterli oyunların farklı ve benzer yanlarının ortaya konarak sebeplerinin ele alınmasıdır. Bu amaçla çalışmaya öncelikle saha araştırması ile birlikte konuyla ilgili mevcut çalışmaların taranması ile başlanılmıştır. Video kaset ve teyp kaset arşivlerinden yararlanılmış, yöredeki uzman ve kaynak kişiler ile temasa geçilip görüşme imkanları sağlanmıştır. Bu çalışmada ilk önce araştırma konusu ve araştırmanın amacı ele alınmış, araştırma sahası, araştırmada kullanılan metod ve teknikler ile temel kavramların analizine yer verilmiştir. Daha sonra insanın oyunculuk vasfı ele alınmış, oyun kavramı, oyunun doğuşu ve gelişimi, Türklerde oyun, Halk oyunları, Türk Halk Olunları'na genel bakış gibi konular hakkında genel bilgiler verilmiş, yörenin kültürel tarihi ve yaşam şeklinden bahsedilmiş, Elazığ yöresi halk oyunlarına ana hatlarıyla değinilmiştir. Dramatik-Seyirlik ve Temsili Oyunlar bölümü içerisinde oyunda taklit, dramatik ve temsili oyunlar ile oyunların kaynaklan ve oynanma zamanlarından bahsedilmiştir. Yöredeki oyun kültüründen bahisle "Elazığ Yöresi Dramatik-Seyirlik ve Temsili Oyunları" bütün yapıları ile birlikte genel olarak incelenmiş, varyantları ile birlikte özellik arzedenleri belirtilmiştir. Çalışmanın sonunda da bu çalışmadan elde edilen sonuçlara yer verilmiş, ekler sunulmuştur. Bu araştırmadan çıkan en önemli sonuç Elazığ Yöresi dramatik, seyirlik ve temsili oyunlarından bazılarının temel yapı itibariyle Anadolu'nun çoğu yörelerinde benzer özelliklerle sözlü bir gelenek olarak yaşadığını ve bu oyunların kökeninin aynı olduğunu ve dolayısıyla batı kültürü ile bağlantı kuramamış Türk köylüsünün kendi sosyal ve iktisadi şartlar içinde folklorik bir tiyatroya sahip olduğunu gösterdi.

The study called "The Analysis of Dramatic- Visual and Performing Arts of Elazığ Environment" consists of six parts. In this study, the main subject is Elazığ Environment Dramatic, visuam and performing arts, Firstly, this study which is directed to the study of sources of Elazığ Environment Dramatic, Visual and Performing. Arts; their variants, preparation of the dances, the coştum to produce dances the way they are danced, the characters the times when they are played, dance field and how it's prepared, audiences participation in the dance, the quality of music, costumes and make up should be lonked at from theoretical paint of view. The main objectiuve of this study is to determine the position of dramatic visual and performing Arts, which are nearly forgotten in Elazığ Folklore; interacting with other cultural elements and products to study it with it's variants, and to display the similaritres and differences of the drama-character dances played in different regions and handle the differences. With the arms autlined above this study has firstly been started by field research and scanning, providing and tabelling of available studies related with the subject. Video cassettes and tape-cassettes ardives have been benefited from and later expert and source individuals have been contacted and interviewed with. In the first part of this study, research subject has been dealt with and such as the aim of research the metods and techniques used in the research, the difficulties faced during the research and the analyses of the main concepts have also been mentioned about. In the second part game concepts and their definitions have been touched upon, birth and development of game have been mentioned about; and subjects like "Games XI in Turks", "Folk Dances", "An overview of turkish Folk Dances" and "Turkish Folk Instruments" have been touched on. In the third part following on from the foundation the civilizations it witnessed and the govermental structure of Elazığ province and Harput which is our research field, the culturel History of Elazığ has been touched; and Culturel, social, folk and economic way of life have been mentioned about. In the fourth part the general structure of Elazığ province folk dances which is our research Field, Folk Dances Instruments and Folk Dances costumes of Elazığ and its envinonment have been briefly mentioned. In the fifth part; With in the context of visual and performing arts, subjects like "imitation in Dance", "Dramatic Plays", and "Performing Arts" and "The Sources of These Plays" and "When they are played" have been explained. In the sixth part; Elazığ Environment's Dramatic, Visual and performing. Arts have been studied with all its structures in general and those having specialities have been specified with their variants. At the end of the work, the results obtained from this work have been told sources and sorce individuals have been given information about additionally; individuel interview questions, individuel interview texts, notes, pictures and photographs have been given place to. With this work it's considered that Folk Dances, which is one of the research fields of folklore, and Village Theatre Village Performing Arts and the custom to produce plays are local studies which are handled directly related to folklore at the level of Master of Arts. Village performing arts (theatrical shows) which have anonymous structures are inherit in ages lasting folk theatre tradition. These plays are closely related to the clutural level of the society and the age they are played in, and have paramount importance in village life. The only suitable environment for their existence is village life. In order to evaluate the nats (the atrical shows) in Elazığ and it's suburb thoroughly whose samples and patlems we face rarely though and to compare them to their versions, we are supposed to discuss the effects and traces of Central Asian, Anatolian and Islamic Cultures and beliefs upon these plays. We can see the traces of Central Asian culture upon these plays. The beliefs and lfestyles of Central Asian Turks are the main factors forming today's culture, turks, who came from central XII Asia and expandest throughout inner Europa, offected by their cultures as well, this is an undeniable truth. As accepting Islam; turks met a new culture. Althouhg they were effected by this new culture they continued their own traditional culture. Turks and other nations which accepted Islamic culture kept an letting Islamic culture and remnants of their former beliefs, traditions and rites live together. Anatolian village performing artsare theatrical shows which are performed by villagers to enjoy the long winter nights, solstices, weddings and religious festivals. These theatrical shows are based on a very ord tradition. These folksy products, which have a verbal tradition, continued with Turks arrival to anatolia and kept on living to date. We can see the traces of the remnants of old rituals in many plays of Elazığ and it's suburb. The performing arts of Elazığ or rather these theatrical shows are of an enormous importance amony Anatolian Village performing arts. As a result of the researches and studies done in Elazığ and its suburb we see that the melody and acting of some plays are forgotten, some plays are about to be forfotten, some plays are performed in some villages by some peoble in the know and some plays are known widely and performed guite often. The shows performed in Elazığ and its villages are dramatic plays that are hold during harvest time, in antrechambers Sliwans) near pools or during solstices, in chambers in winters, in some meetings and entertainments, by villagers to enjoy and pass the time oyfully. The essence of these plays, which are based on a verbal trodition, is formed by the villagers ways f thinking and lifestyles and the plays have certain frameworks. The subects of the rituals can be summed up lite so; wedding death and return to life, the conflict between evil and good, the cult of fire, the cult of animal, religious and incantational rituals and rituals about change in years, shepherds festivals, girl and bride abdultion. The subjects of plays aiming to entertain people are mimics of animals, weeddings, a young person trying to convey his intention of marrying, teasing spectators, producing theatriacal plays conundrums and etc. These plays are performed and prepared by almost all villagers. Spectators are acguointed with plays and from surrounding villages are summoned some spectators. When time for performance comes, firm performers ho have high gualit, for acting are invited. A gualified performer who knows the play bes directs it. Those who goto other villages to invite peaple are given presents. XIII Some of the plays keep on continuing traditionally in the same style in respect of their themes and characters. Although there are some differences between the plays as the performers make some contributions to the plays with their gestures, mimics and special qualifications and by performing these plays by means of improvisation, the message is basically the same. That is repeated traditionally. The performers wear costumes suitable for their roles, wear make up and prepare masks. Costumes and accessory are important elements. The eguipments in plays include living and lifeless things as well. Sound effects are produced alive. Plays are performed with or without music. Besides the verbal plays without music, there are pantomimes. Music is inevitable in these plays. It s unreal or not realistic to think of plays without music of collective folk dance. With respect to rhythm in musicals (or plays with music) the main rhythm is 2-4 time, or 6 time rhythmes, compounded 10 time rhythmes and rarerly 9 time compounded rhythmes are used. Most of the musicals' having an undulated tone sis another characteristic of these plays. One of the results derived from this research is that these plays performed widely in the sformer times. Face extinction because of the medra's being on the increase immigration fromvilages to cities, economic difficulties, the decrease in the interaction between people or ocial relations rather, dyring of people who know these plays or their hoving other occupations, non-existence of firm and gualified performers-as this performance seems to be fatiguing and difficult and these plays not being favourite anymore. Having compiled some of the plays that face extinction and some other plays that are still performed we tried to place them in this study. It may seem to be reasonable to bee these plays as dramas in the circle of folklore. Which existed as result of verbal tradition in Turkish lifestyle and as villagers tradition of producing play. The subect that form the theme of ur research a study an performing arts of Elazığ and it's suburb, is originated from tradition. The most important result from this research it that some of the visual and performing arts of Elazığ Environment live as a verbal coştum in most parts of Amatoira with similar specialities reparding the basic structure and the origin of these games is the same, consequently, it has shown us that Turkish villager, who hasn't communicated with West Cumture has got a theatre in his social and economical conditions. XIV However simple it's qualities are visual and performing Arts Which have on important part in rural life are first, helping raise the living standart of the society by satisfying the environments need for "stage" life removing the faults trough their display, and by praising and trying to make skills wide spread and of great benefit from the point of getting to know and understanding the village with his sufferances and happiness. At weddings consisting of themes from social life and societys promlems at varrious gatherings in the visual and performing arts played at entertainments and nights villager is displayed before us with his sad and funny sides, with his rituals and his various sensibilities, thus regions and surroundings are being introduced with their problems. So from the point of mixing the individuals a sendee that can not be underestimated is realized. Following on from the fact that folklore is universal, with this study handled, we aim for the survival of not only our village cultures sounces but also visual and performing arts played from the past up to present and thus at least, we want to ensure that they will be sources for the future generations and make contributions to enable them to be of assistance to the individuals. Who can do researches in these types of subjects Because it's a fact that this rich source, and these culturel values of ours that are nearly forfetten have value begond price.