{"id":703,"date":"2010-07-13T17:24:59","date_gmt":"2010-07-13T14:24:59","guid":{"rendered":"http:\/\/www.gokhanyorgancigil.com\/?p=703"},"modified":"2010-07-13T17:30:21","modified_gmt":"2010-07-13T14:30:21","slug":"drama-teori-bolum-1","status":"publish","type":"post","link":"https:\/\/www.gokhanyorgancigil.com\/?p=703","title":{"rendered":"Drama, Teori, B\u00f6l\u00fcm 1"},"content":{"rendered":"<div class=\"mceTemp\">\u0130\u015fte, bir paragraf a\u015fa\u011f\u0131da\u00a0Arsito&#8217;nun drama hakk\u0131ndaki fikirlerini g\u00f6steren bir grafik&#8230; Yatay \u00e7izgi zaman\u0131, dikey \u00e7izgi ise fiziki ve\/veya psikolojik gerilimi temsil ediyor. Bir drama do\u011fal olarak gerilimin s\u0131f\u0131r oldu\u011fu bir noktada ba\u015flamaz. Ayn\u0131 zamanda bir drama gerilimin en \u00fcst oldu\u011fu noktada da ba\u015flayamaz. Yani zaman ilerledik\u00e7e gerilimin azalmas\u0131 seyircide yabanc\u0131la\u015fma etkisi uyand\u0131r\u0131r. K\u0131sacas\u0131 s\u0131f\u0131r noktas\u0131n\u0131n biraz \u00fcst\u00fcnde ba\u015flar\u0131z. \u0130\u015fin ideali zamanla gerilim yava\u015f yava\u015f artar ve en y\u00fcksek gerilimi temsil eden doruk noktas\u0131na ula\u015f\u0131r. Bu noktadan sonra problem \u00e7\u00f6z\u00fcl\u00fcr, \u00e7at\u0131\u015fmalar giderilir ve olabildi\u011fince h\u0131zl\u0131 bir \u015fekilde b\u00fct\u00fcn gerilim d\u00fc\u015fer.<\/div>\n<p style=\"text-align: center;\">\n<dl class=\"wp-caption aligncenter\" style=\"width: 505px;\">\n<dt class=\"wp-caption-dt\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter\" src=\"http:\/\/farm5.static.flickr.com\/4102\/4789685065_18c83f683b.jpg\" alt=\"Bu ho\u015f grafik b\u00fct\u00fcn dramalar\u0131n temelidir.\" width=\"495\" height=\"280\" \/><\/dt>\n<dd class=\"wp-caption-dd\">Bu ho\u015f grafik b\u00fct\u00fcn dramalar\u0131n temelidir.<\/dd>\n<\/dl>\n<p>Bu ho\u015f grafik b\u00fct\u00fcn dramalar\u0131n temelidir. Ancak ger\u00e7ekte ihtiva ettikleri i\u00e7 ve d\u0131\u015f problemler y\u00fcz\u00fcnden b\u00fct\u00fcn dramalar g\u00f6r\u00fcnd\u00fc\u011f\u00fcnden daha karma\u015f\u0131kt\u0131r. Yani, klasik western filmi High Noon&#8217;da k\u00f6t\u00fc adamlar ellerinde silah \u015ferifi vurmak i\u00e7in kasabaya girdiklerinde bu en basit haliyle d\u0131\u015f problemdir. Psikolojik ya da i\u00e7sel problem ise \u015ferifin kar\u0131s\u0131n\u0131 kaybetme korkusuyla k\u00f6t\u00fc adamlarla sava\u015fmaya \u00e7ekinmesidir. \u0130\u015fin ideal olan\u0131, bu fiziki ve psikolojik problemin ayn\u0131 en y\u00fcksek gerilim noktas\u0131nda \u00e7\u00f6z\u00fclmeye ba\u015flamas\u0131d\u0131r. Aksi takdirde psikolojik ve fiziki gerilim i\u00e7in iki ayr\u0131 doruk noktas\u0131 ve iki ayr\u0131 \u00e7\u00f6z\u00fclme zaman\u0131na ihtiya\u00e7 duyar\u0131z. \u0130ki ayr\u0131 doruk noktas\u0131, iki ayr\u0131 \u00e7\u00f6z\u00fclme anlam\u0131na ve hikayenin kendisini toparlayamamas\u0131na ve seyircilerin \u00f6fkelenmesi anlam\u0131na gelebilir. Bu i\u00e7 ve d\u0131\u015f problemler hikayenin gerilim hatt\u0131 \u00fczerinde ilmekli bir g\u00f6r\u00fcnt\u00fc sergiler. Yani \u015f\u00f6yle:<\/p>\n<figure style=\"width: 499px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/farm5.static.flickr.com\/4095\/4789686663_6f7bb77515.jpg\" alt=\"Bu grafi\u011fin \u201cperde\u201d ad\u0131 verilen \u00fc\u00e7 b\u00f6l\u00fcme ayr\u0131lm\u0131\u015f olmas\u0131na \u00f6zellikle dikkat edin.\" width=\"499\" height=\"283\" \/><figcaption class=\"wp-caption-text\">Bu grafi\u011fin \u201cperde\u201d ad\u0131 verilen \u00fc\u00e7 b\u00f6l\u00fcme ayr\u0131lm\u0131\u015f olmas\u0131na \u00f6zellikle dikkat edin.<\/figcaption><\/figure>\n<p>Bu grafi\u011fin \u201cperde\u201d ad\u0131 verilen \u00fc\u00e7 b\u00f6l\u00fcme ayr\u0131lm\u0131\u015f olmas\u0131na \u00f6zellikle dikkat edin. Zaman i\u00e7inde bu \u00fc\u00e7 perde drama sanat\u0131n\u0131n temel tu\u011flalar\u0131 haline gelmi\u015ftir. Eski bir s\u00f6yleyi\u015fe g\u00f6re ilk perdede kahraman\u0131n\u0131z\u0131 bir a\u011faca t\u0131rmand\u0131r\u0131rs\u0131n\u0131z ki bu ana problemi olu\u015fturur, ikinci perdede ona bir \u015feyler f\u0131rlat\u0131rs\u0131n\u0131z ki bu problemi karma\u015f\u0131kla\u015ft\u0131r\u0131r, \u00fc\u00e7\u00fcnc\u00fc perdede de kahraman\u0131n\u0131z\u0131 a\u011fa\u00e7tan indirirsiniz ki bu da problemi \u00e7\u00f6z\u00fcme kavu\u015fturur.<\/p>\n<figure style=\"width: 246px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/eldora.as.arizona.edu\/~yshirley\/Arizona\/highnoon.jpg\" alt=\"High Noon\" width=\"246\" height=\"313\" \/><figcaption class=\"wp-caption-text\">High Noon<\/figcaption><\/figure>\n<p>Tefrikam\u0131z devam edecek&#8230;<br \/>\nKaynak: <em>Good scripts, bad scripts : learning the craft of screenwriting, Tom Pope, Three Rivers Press, New York<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u0130\u015fte, bir paragraf a\u015fa\u011f\u0131da\u00a0Arsito&#8217;nun drama hakk\u0131ndaki fikirlerini g\u00f6steren bir grafik&#8230; Yatay \u00e7izgi zaman\u0131, dikey \u00e7izgi ise fiziki ve\/veya psikolojik gerilimi temsil ediyor. Bir drama do\u011fal olarak gerilimin s\u0131f\u0131r oldu\u011fu bir noktada ba\u015flamaz. Ayn\u0131 zamanda bir drama gerilimin en \u00fcst oldu\u011fu noktada da ba\u015flayamaz. Yani zaman ilerledik\u00e7e gerilimin azalmas\u0131 seyircide yabanc\u0131la\u015fma etkisi uyand\u0131r\u0131r. K\u0131sacas\u0131 s\u0131f\u0131r noktas\u0131n\u0131n [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[64,72,36,66],"class_list":["post-703","post","type-post","status-publish","format-standard","hentry","category-senaryo","tag-oyku","tag-sanat-felsefesi","tag-senaryo-yazarligi","tag-tiyatro"],"_links":{"self":[{"href":"https:\/\/www.gokhanyorgancigil.com\/index.php?rest_route=\/wp\/v2\/posts\/703","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.gokhanyorgancigil.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.gokhanyorgancigil.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.gokhanyorgancigil.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.gokhanyorgancigil.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=703"}],"version-history":[{"count":7,"href":"https:\/\/www.gokhanyorgancigil.com\/index.php?rest_route=\/wp\/v2\/posts\/703\/revisions"}],"predecessor-version":[{"id":709,"href":"https:\/\/www.gokhanyorgancigil.com\/index.php?rest_route=\/wp\/v2\/posts\/703\/revisions\/709"}],"wp:attachment":[{"href":"https:\/\/www.gokhanyorgancigil.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=703"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.gokhanyorgancigil.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=703"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.gokhanyorgancigil.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=703"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}