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Anahtar Kelimeler: 1), Drama, 2) Drama Yöntemi, 3) Oyun, 4) øON|÷UHWLP

ABSTRACT Master Thesis

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And Ethics At The Primary Schools Yusuf CEYLAN Dokuz Eylul University Institute Of Social Sciences Department of Philosophy and Religious

Drama is a teaching method based on the revival of a theme, an event or an idea by way of play. Since dramatic activities depend on merely experiences of students, this method ensures them to learn by doing and living. Experimential learning has a crucial role in making the learning easy and permanent. Drama is an effective way of learning in the development of creative and critical thinking ability in students; in getting the skills of decision making, problem solving and influental communication.

The aim of the thesis is to establish how to use effectively and productively the method of drama in the courses of the Religious Culture and Ethics. With the use of the method of drama in the courses of Religious Culture and Ethics, learning, we believe, will become enjoyable and throughout the course, the extent of motivation and interest of students is to be high in degree. Where the method of drama is used in the courses of Religious Culture and Ethics, it has an important function as the development of the abilities of students integrally and the realization of affective objects involved in the program of Religious Culture and Ethics in primary schools.

Key World: 1) Drama, 2) Drama Method, 3) Play, 4) Courses Of

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4 _{Selahattin Ertürk (÷LWLPGH3URJUDP*HOLúWLUPH, ss. 8-9.}

5 _{øQFL6DQ³<DUDWÕFÕOÕ÷Õ*HOLúWLUHQ%LU<|QWHPYH<DUDWÕFÕ%LUH\L<HWLúWLUHQ%LU'LVLSOLQ(÷LWVHO} <DUDWÕFÕ'UDPD´Yeni Türkiye Dergisi, 1996, S. 7, s. 151; Alev Önder, <DúD\DUDNg÷UHQPH øoLQ (÷LWLFL'UDPD(SVLORQ<D\ øVWDQEXOV1XUHWWLQ )LGDQ2NXOGDg÷UHQPHYH g÷UHWPH, s. 10.

6 _{Yüksel Özden, g÷UHQPHYHg÷UHWPH, Pegema Yay., Ankara 2005, s. 20.}

7_{&DYLW%LQEDúÕR÷OX$LOHGHYH2NXOGD(÷LWLP6RUXQODUÕ0(%<D\øVWDQEXOV} 8_{øOKDQ7HNHOL(÷LWLPh]HULQH'úQPHN, Türkiye Bilimler Akademisi Yay., Ankara 2004, s. 23.} 9_{ 6HODKDWWLQ 3DUODGÕU ³$NWLI (÷LWLPGH %LOLúVHO YH 'X\XúVDO hUQOHU´, ,, $NWLI (÷LWLP .XUXOWD\}

.LWDEÕ(G(PLQ$OÕFÕ'RNX](\OO<D\ø]PLU ss. 115-116. 10 _{Nurettin Fidan, 2NXOGDg÷UHQPHYHg÷UHWPH, ss. 125-126.}

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11_{ø]]HWWLQ$OÕFÕJ]HOdD÷GDú2NXOGD(÷LWLPYHg÷UHWLP6LVWHP<D\øVWDQEXO003, s. 98.} 12 _{Ahmet Saban, g÷UHQPHg÷UHWPH6UHFL, Pegema Yay., Ankara 2004, s. 139.}

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15 _{Andrew P. Johnson, “How To Use Creative Dramatics in The Classroom”, Childhood Education,} S. 75, No. 1, s. 2.

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16_{øOKDQ7HNHOL (÷LWLPh]HULQH'úQPHN., s. 23; Yüksel Özden, g÷UHQPHYHg÷UHWPH, s. 79.} 17 _{Alp Boydak, /LGHUg÷UHWPHQ%H\D]<D\øVWDQEXOV 48.}

18 _{Mehmet Okutan, *HQHO g÷UHWLP 0HWRGODUÕ, Trabzon 1997, s. 1 +DVDQ %DFDQOÕ 'X\XúVDO} 'DYUDQÕúÕQ(÷LWLPL, Nobel Yay., Ankara 1999, s. øQFL6DQ³6DQDWYH<DUDWÕFÕOÕN(÷LWLPL2ODUDN Tiyatro”, <DUDWÕFÕ'UDPD<D]ÕODU1985 -1995, (GW+gPHU$GÕJ]el), Naturel Yay., Ankara 2002, s. 1.

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26 _{Yüksel Özden, g÷UHQPHYHg÷UHWPH, s. 62.}

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28_{ 0XDOOD 6HOoXN ³7HRULN YH 3UDWLN $oPD]ODUÕ\OD .OWUHO 0LUDV g÷UHWLPLQL 6RUJXOD\DQ %LU} Deneme”, $hø)'HUJLVLg]HO6D\ÕV 260.

29_{0=HNL$\GÕQ$KOkNg÷UHWLPLQGHgUQHN2OD\øQFHOHPHVL, Nobel Yay., Ankara 2003, s. 5.} 30_{ 5HFDL 'R÷DQ-Cemal Tosun, øON|÷UHWLP  YH  6ÕQÕIODU øoLQ 'LQ .OWU YH $KOkN %LOJLVL}

g÷UHWLPLPegema Yay., Ankara 2003, s. 50.

31 _{Mualla Selçuk, ³'LQ g÷UHWiminin Kuramsal Temelleri”, 'LQ g÷UHWLPLQGH <HQL <DNODúÕPODU,} 0(% <D\ øVWDQEXO  V  0 =HNL $\GÕQ 'LQ g÷UHWLPLQGH <|QWHPOHU Nobel Yay., Ankara 2004, s. 55.

32_{'LQ.OWUYH$KOkN%LOJLVLg÷UHWPHQOHULQLQNXOODQGÕNODUÕ\|QWHPOHUOHLOJLOLED]ÕDUDúWÕUPDODULoLQ} EDNÕQÕ]0ùHYNL$\GÕQ'LQ.OWUYH$KOkN%LOJLVLg÷UHWPHQOHULQLQ3HGDJRMLN)RUPDV\RQ Yeterlilikleri<D\ÕQODQPDPÕú'RNWRUD7H]L.D\VHULV0=HNL$\GÕQøON|÷UHWLPLQ øNLQFL .DGHPHVL 'LQ .OWU YH $KOkN %LOJLVL 'HUV 3URJUDPÕQGDNL Ahlâkî Amaç ve .RQXODUÕQ3URJUDP*HOLúWLUPH$oÕVÕQGDQ'H÷HUOHQGLULOPHVL, EARGED, Sivas 1998, s. 59; M. =HNL$\GÕQ$KOkNg÷UHWLPLQGHgUQHN2OD\øQFHOHPHVL,VùXD\LEg]GHPLU³2UWD|÷UHWLPGH 'LQ .OWU YH $KOkN %LOJLVL 'HUVOHULQGH g÷UHWPHQOHULQ <DUGÕPFÕ 'HUV $UDo YH *HUHoOHUL Kullanma Durumu”, 2UWD'HUHFHOL2NXOODUGD<UWOHQ'LQ(÷LWLP-g÷UHWLPLQLQ3UREOHPOHUL øEDY.D\VHULV0XDOOD6HOoXNdRFX÷XQ(÷LWLPLQGHDinî Motifler, T.D.V. Yay., Ankara 1991, s. 155.

33 _{Daniel Goleman, Duygusal Zekâ, ( Çev. Banu Seçkin Yüksel), 9DUOÕN<D\øVWDQEXOV} 34 _{Beyza Bilgin-Mualla Selçuk, 'LQg÷UHWLPLg]HOg÷UHWLP<|QWHPOHUL, Gün Yay., Ankara 2000, s. 124.}

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35_{ +DOLV $\KDQ YH GL÷HUOHUL 'LQ YH $KOkN (÷LWLP g÷UHWLPLQH <HQL <DNODúÕPODU, DEM Yay.,} øVWDQEXOV

36_{$EGXUUDKPDQ'RGXUJDOÕ³'LQ.OWUYH$KOkN%LOJLVL'HUVOHULQGHøOHWLúLP3UREOHPOHULYH%D]Õ} Teklifler”, 2UWD 'HUHFHOL 2NXOODUGD <UWOHQ 'LQ (÷LWLP-g÷UHWLPLQLQ 3UREOHPOHUL øEDY .D\VHULV0=HNL$\GÕQa.g.e., s. 6.

37 _{0ùHYNL$\GÕQ³%DUÕú.OWUYH'LQ(÷LWLPL´$YUXSD%LUOL÷L¶QH*LULú6UHFLQGH7UNL\H¶GH} 'LQ(÷LWLPLYH6RUXQODUÕ6HPSR]\XPX'H÷LúLP<D\ÕQODUÕ$GDSD]DUÕV 5HFDL'R÷DQ-Cemal Tosun, øON|÷UHWLPYH6ÕQÕIODUøoLQ'LQ.OWUYH$KOkN%LOJLVLg÷UHWLPL, s. 49. 38 _{Cevat Alkan, (÷LWLP2UWDPODUÕ, A.Ü.E.F. Yay., Ankara 1979, ss. 3-10.}

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1.2. Amaç

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40 _{Alp Boydak, /LGHUg÷UHWPHQ s. 9.}

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1.3. Önem

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QHGHQOHVLVWHPLQXQVXUODUÕQGDQ\|QWHPNRQXVXLKPDOHGLOPHPHOLGLU

Din dersi kendine has özellikleri nedeniyle çok yönlü bir derstir. Bu nedenle EX GHUVWH \|QWHPVHO oHúLWOLOL÷H JLGLOPHOLGLU48 _{Bununla birlikte |÷UHWPH VUHFLQGH}

\|QWHP oHúLWOLOL÷L VD÷ODQPDVÕ H÷LWLPFLOHU WDUDIÕQGDQ LIDGH HGLOPHNWHGLU49 _{Hem din}

GHUVLQLQ GDKD YHULPOL LúOHQPHVL KHP GH |÷UHQPH |÷UHWPH VUHFLQGH \|QWHP ]HQJLQOL÷LQH GLQ GHUVOHULQGH IDUNOÕ \|QWHPOHULQ |]HOOLNOH GH÷HU H÷LWLPL EDNÕPÕQGDQ uygunNDEXOHGLOHQGUDPD\|QWHPLQLQX\JXODQPDVÕQÕJHUHNWLUPHNWHGLU

42 _{Nurettin Fidan, Münire Erden, (÷LWLPH*LULú$ONÕP<D\øVWDQEXOV}

43 _{Selahattin Ertürk, (÷LWLPGH3URJUDP*HOLúWLUPH, s. 15; Kamuran Çilenti, (÷LWLP7HNQRORMLVLYH} g÷UHWLPL, Gül Yay., Ankara 1997, s. 17.

44 _{Yüksel Özden, g÷UHQPHg÷UHWPH, s. 13.}

45 _{Nurettin Fidan, 2NXOGDg÷UHQPHYHg÷UHWPH, s. 12.} 46 _{Nurettin Fidan- Münire Erden, (÷LWLPH*LULú, s. 29.}

47_{+øEUDKLP<DOÕQg÷UHWLP7HNQRORMLOHULYH0DWHU\DO*HOLúWLUPH, Nobel Yay., Ankara 2002, s. 7.} 48 _{Mualla Selçuk, dRFX÷XQ(÷LWLPLQGHDinî Motifler, s. 154.}

1.4. Yöntem

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1 _{Plilip Taylor, Drama Classroom: Action, Reflection, Transformation, Falmer Pres, London 2000,} ss. 95-100; Mübeccel Gönen-1XUVHO 8\DU 'DONÕOÕo dRFXN (÷LWLPLQGH 'UDPD, Epsilon Yay., øVWDQEXOVV-1HULPDQ$UDOYHGL÷HUOHULDrama, Ya-SD<D\øVWDQEXOVV33-36; Alev Önder, <DúD\DUDNg÷UHQPHøoLQ(÷LWLFL'UDPD, ss. 33-36; Mahiye Morgül, (÷LWLPGH <DUDWÕFÕ 'UDPD\D 0HUKDED .|N <D\ $QNDUD  V  =ODO %R]GR÷DQ Okulda 5HKEHUOLN (WNLQOLNOHUL YH <DUDWÕFÕ 'UDPD, Nobel Yay., Ankara 2003, ss. 32-33; Tülin 6D÷ODP (÷LWLPGH 'UDPD YH 7UN dRFXNODUÕQÕQ 5LWHO 1LWHOLNOL 2\XQODUÕQÕQ (÷LWLPGH 'UDPGD.XOODQÕPÕ$h6%(<D\ÕQODQPDPÕú'RNWRUD7H]L$QNDUDVV,,,- V; Aysun Gürol, 2NXO|QFHVL (÷LWLP g÷UHWPHQOHUL LOH 2NXO|QFHVL g÷UHWPHQ $GD\ODUÕQÕQ 'UDPD\D øOLúNLQ .HQGLOHULQL <HWHUOL %XOPD ']eylerinin Belirlenmesi, F. Ü. S. B. E. <D\ÕQODQPDPÕú 'RNWRUD 7H]L (OD]Õ÷  VV - 6ÕOD  2\DW $\ <DEDQFÕ 'LO g÷UHWLPLQGH 'UDPDQÕQ .XOODQÕPÕ, A. Ü. S. B. E. (<D\ÕQODQPDPÕú <NVHN /LVDQV 7H]L Ankara 1997, ss. 27-31.

'UDPD YHLONRNXOSURJUDPÕQGD¶GHLVHRUWDRNXO SURJUDPÕQGD WHPVLO GUDPDWL]DV\RQ JLEL IDUNOÕ V|]FNOHUOH LIDGH HGLOPLúWLU 0LOOL (÷LWLP %DNDQOÕ÷Õ  \ÕOÕQGD GUDPDQÕQ H÷LWVHO |QHPL\OH LOJLOL ELU UDSRU \D\ÕQODPÕúWÕU  \ÕOÕQGD 6HODKDWWLQ dRUXK WDUDIÕQGDQ ³2NXOODUGD 'UDPDWL]DV\RQ´ DGOÕ ELU NLWDS \D\ÕQODQPÕúWÕU <LQH\ÕOÕQGD(PLQg]GHPLUWDUDIÕQGDQ³8\JXODPDOÕ'UDPDWL]DV\RQ´LVLPOLNLWDS \D\ÕQODQPÕúWÕU

hONHPL]GH GUDPDQÕQ NXOODQÕOPDVÕQD |QFON HGHQ H÷LWLPFLPL] ø + %DOWDFÕR÷OX¶GXU2QDJ|UH³WL\DWURPHNWHE-LHGHSWLU´%DOWDFÕR÷OXGDKDoRNGUDPDQÕQ GR÷DoODPDER\XWXQX|QSODQGDWXWPXúYHEXQX³\D]ÕOÕPHWQHGH÷LOLoLQGHGR÷DoODPD XQVXUXRODQR\XQODUD|QHPYHULULP´úHNOLQGHLIDGHHWPLúWLU%XQDHNRODUDNRGUDPD\Õ NXOODQPD DPDFÕQÕQ oRFX÷XQ NLúLOLN JHOLúLPLQL  YH VRV\DOOHúPHVLQL VD÷ODPD\D \|QHOLN ROGX÷XQXEHOLUWPLúWLUø+DNNÕ%DOWDFÕR÷OXLONGHIDGUDPDQÕQRNXOWL\DWURODUÕQÕQGÕúÕQGD ELU \|QWHP RODUDN 7UNoH GHUVOHULQGH NXOODQÕODELOHFH÷LQL V|\OHPLú DQFDN onun ]DPDQÕQGDEXGHUVOHUGHGUDPD\|QWHPLNXOODQÕOPDPÕúWÕU

*QP]H JHOLQGL÷LQGH GUDPD |UJQ H÷LWLP NXUXPODUÕQGD  \ÕOÕQGDQ LWLEDUHQVHoPHOLELU GHUV RODUDN H÷LWLP SURJUDPÕQD JLUPLú EXOXQPDNWDGÕU<LQH EDWÕGD ROGX÷XJLELONHPL]GHGH|÷UHWPHQ\HWLúWLUHQNXUXPODUGD|÷UHWPHQDGD\ODUÕQDGUDPD dersi verilmektedir. 2

6RQ \ÕOODUGD GUDPD ONHPL]GH \NVHN OLVDQV YH GRNWRUD G]H\LQGH ELU oRN DUDúWÕUPD\D NRQX ROPXúWXU 'H÷LúLN GHUVOHULQ |÷UHWLPLQH \|QHOLN \DSÕODQ DUDúWÕUPDODUÕQVRQXoODUÕQÕEXUDGDNÕVDFD]LNUetmek istiyorum.3_{)LOL].RoWDUDIÕQGDQ}

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2_{7OD\hVWQGD÷³Bir YönWHP2ODUDN<DUDWÕFÕ'UDPD”, 3ODQGDQ8\JXODPD\Dg÷UHWLP, Mürüvet} %LOHQ $QÕ <D\ $QNDUD  VV -190; Mübeccel Gönen-1XUVHO 8\DU 'DONÕOÕo Çocuk (÷LWLPLQGH 'UDPD, ss. 25-1HULPDQ $UDO YH GL÷HUOHUL Drama, ss. 22-23; Mahiye Morgül, (÷LWLPGH<DUDWÕFÕ Dramaya MerhabaV=ODO%R]GR÷DQOkulda Rehberlik Etkinlikleri YH <DUDWÕFÕ 'UDPD, ss. 33-36; Aysun Gürol, 2NXO|QFHVL (÷LWLP g÷UHWPHQOHUL LOH 2NXO|QFHVL g÷UHWPHQ $GD\ODUÕQÕQ 'UDPD\D øOLúNLQ .HQGLOHULQL <HWHUOL %XOPD ']H\OHULQLQ Belirlenmesi, s. 17; 6ÕOD $\ <DEDQFÕ 'LO g÷UHWLPLQGH 'UDPDQÕQ .XOODQÕPÕ, A.Ü.S.B.E. <D\ÕQODQPDPÕú\NVHNOLVDQVWH]L$QNDUDVV-31.

3 _{Filiz Koç, <DUDWÕFÕ 'UDPDQÕQ g÷UHQPH\H (WNLVL 6RV\DO %LOJLOHU g÷UHWLPLQGH %LU <|QWHP}

Olarak$h6%(<D\ÕQODQPDPÕú<NVHN/LVans Tezi, Ankara 1999; Özlem Kaf, Hayat Bilgisi 'HUVLQGH %D]Õ 6RV\DO %HFHULOHULQ .D]DQGÕUÕOPDVÕQGD <DUDWÕFÕ 'UDPD <|QWHPLQLQ (WNLVL, dh6%(<D\ÕQODQPDPÕú<NVHN/LVDQV7H]L$GDQD

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2.1. DRAMA

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GUDPDGDQ IDUNOÕ RODUDN )UDQVÕ]FD drame kelimesinden gelmektedir. Türkçe’de ve |]HOOLNOH GH KDON GLOLQGHNL úHNOL\OH dram DFÕNOÕ R\XQ \D GD ROD\ DQODPÕQGD NXOODQÕOPDNWDGÕU7

*QP]GHGUDPDELUVDQDWDODQÕELUGLVLSOLQYHELU|÷UHWPH\ROXRODUDNo boyutta incelenmektedir.8 %L] EX oDOÕúPDPÕ]GD GUDPD\Õ ELU \|QWHP RODUDN HOH DODFD÷Õ]%XED÷ODPGDGUDPDELUGHUVLQYH\DELUNRQXQXQ|÷UHWLOPHVLQGe ya da ilgili

4 _{Ruth Shearer, Ruth Davidhizar, “Using Role Play to Develop Cultural Competence”, Journal of}

Nursing Education; 2003, S. 42. 6 Healt Module, s. 273.

5 _{%N]0HWH$NR÷X]øOHWLúLP%HFHULOHULQLQ*HOLúWLULOPHVLQGH<DUDWÕFÕ'UDPDQÕQ(WNLVL, A.Ü.E.B.E.} <D\ÕQODQPDPÕú <NVHN /LVDQV 7H]L $QNDUD  $\úH 2NYXUDQ <DUDWÕFÕ 'UDPD (÷LWLPLQLQ (PSDWLN %HFHUL YH (PSDWLN (÷LOLP ']H\OHULQH (WNLVL $h(%( <D\ÕQODQPDPÕú <NVHN Lisans Tezi), Ankara 1993.

6_{1HULPDQ$UDOYHGL÷HUOHUL(÷LWLPGH'UDPD, s. 44; Özdemir Nutku, Oyun, Çocuk, Tiyatro, Özgür} <D\ øVWDQEXO  V www.etymonline.com (ULúLP 7DULKL Mübeccel Gönen-1XUVHO8\DU'DONÕOÕodRFXN(÷LWLPLQGH'UDPD, s. 23.

7 _{Remzi Öncül, (÷LWLP YH (÷LWLP %LOLPOHUL 6|]O÷ 'UDP PDG V  7'. 6|]O÷ 'UDP} mad., s. 638

8_{øQFL6DQ³<DUDWÕFÕOÕN(÷LWLPLøoLQ*HUHNOL<HQLOLNOHU%LU6DQDW(÷LWELOLPFL*|]\OH”, (÷LWLPLPL]H} %DNÕúODU(GøOKDPL)ÕQGÕNoÕ.OWU.ROHML(÷LWLP9DNIÕ<D\ÕQODUÕ,øVWDQEXOV

dersin hedeflerinin JHUoHNOHúWLULOPHVLQGH NXOODQÕODQ ELU |÷UHWPH \ROX RODUDN NDUúÕPÕ]DoÕNPDNWDGÕU9

.D\QDNODUGD GUDPD LOHLOJLOL GH÷LúLN NDYUDPODUEXOXQPDNWDGÕUED]HQ HNYH V|]FNOHU LOkYHVL\OH IDUNOÕ WU YH X\JXODQÕúODUÕ LIDGH HGLOPHN LVtenirken, bazen bu DQODPODUÕ LIDGH LoLQ 7UNoH V|]FNOHU NXOODQÕOPDNWDGÕU %XQODU \DUDWÕFÕ GUDPD H÷LWLPGHGUDPDH÷LWVHOGUDPDVÕQÕIWDGUDPDGUDPDWLNR\XQPÕúJLEL\DSPDoRFXN R\XQX GUDPD]LWD]\RQ URO \DSPDGÕU10_{ 'UDPDQÕQ ELUoRN GH÷LúLN LVLPOH}

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'UDPDQÕQ GH÷LúLN úHNLOOHUGH DGODQGÕUÕOPDVÕQGD ROGX÷X JLEL GUDPDQÕQ ELU \|QWHPPL\RNVDWHNQLNPLROGX÷XNRQXVXQGDGDX]ODúPD\RNWXU%D]ÕND\QDNODUGD |÷UHWPHWHNQL÷LED]ÕODUÕQGD|÷UHWPH\|QWHPLDGÕWHUFLKHGLOLUNHQNLPLVLQGHGHKHULNL úHNLOGH NXOODQÕOGÕ÷ÕQÕ J|UPHNWH\L] <D\JÕQ RODQ LVH ³ELU \|QWHP RODUDN GUDPD´ úHNOLQGHNL NXOODQÕPGÕU %X EHOLUVL]OLN \|QWHP YH WHNQLN WHULPOHULQLQ H÷LWLPFLOHU DUDVÕQGDIDUNOÕúHNLOOHUGHWDQÕPODQPDVÕQGDGDNDUúÕPÕ]DoÕNPDNWDGÕU

'UDPDQÕQoRNER\XWOX\DSÕVÕJ|]|QQHDOÕQGÕ÷ÕQGDUROR\QDPDGR÷DoODPD SDQGRPLP |\N FDQODQGÕUPD JLEL WHNQLNOHU GUDPD HWNLQOLNOHUL LoLQ de NXOODQÕOPDNWDGÕU%XQXQ\DQÕQGD\|QWHPLQWHNQLNOHULGHLoLQHDODQWHNQLNOHUHJ|UH GDKD JHQHO ELU |÷UHQPH \ROX ROGX÷X NDEXO HGLOLUVH GUDPD ELU \|QWHP RODUDN GúQOHbilir.12

 %X DUDúWÕUPDGD JHQHO ELU NDYUDP RODUDN drama ve yöntem V|]FNOHULQLQNXOODQÕOPDVÕWHUFLKHGLOPLúWLU

Literatürde dramayla ilgili IDUNOÕWDQÕPODU\DSÕOPÕúWÕU(QoRNNXOODQÕODQøQFL 6DQWDUDIÕQGDQ\DSÕODQWDQÕPGÕU2QDJ|UHGUDPD

9 _{Nellie McCaslin, &UHDWLYH'UDPDøQ7KH&ODVVURRP$QGBeyond, Longman, New York 2000, s. 12.} 10 _{Ann Siege Drege, 'UDPD øQ 7KH +LJK 6FKRRO (QJOLVK &ODVVURRP 3HGHJRJLFDO 7KHRU\ $QG}

Practical Application'DNRWD<D\ÕQODQPDPÕú'RNWRUD7H]LV

11 _{Gregory D. Freeman and Others, “Effects of Creative Drama on Self-Concept, Social Skills and} Problem Behavior”, Journal Of Educational Research, 2003, S. 96, s: 131

³'R÷DoODPD URO oynama vb. tiyatro ya da drama tekniklerinden \DUDUODQDUDNELUJUXSoDOÕúPDVÕLoLQGHELUH\OHULQELU\DúDQWÕ\ÕELUROD\ÕELU ILNULELUH÷LWLPQLWHVLQLNLPL]DPDQGDVR\XWELUNDYUDPÕ\DGDGDYUDQÕúÕ HVNLELOLúVHO|UQWOHULQ\HQLGHQG]HQOHQPHVL\ROuyla ve gözlem, deneyim, GX\JX YH \DúDQWÕODUÕQ J|]GHQ JHoLULOGL÷L µR\XQVX¶ VUHoOHUGH DQODPODQGÕUÕOPDVÕFDQODQGÕUPDVÕRODUDNWDQÕPODPDNWDGÕU¶¶13

7DQÕPODUGDNL RUWDN \DQODUGDQ KDUHNHWOH GUDPDQÕQ ELU GúQFH\L EHGHQ diliyle anlatma, içsel bir durumun, biU WDVDUÕPÕQ ELU GúQFHQLQ H\OHPH G|QúWUOPHVLELUGX\JX YHGúQFHQLQELUJUXSWDUDIÕQGDQ\DGDELUH\VHORODUDN R\XQODúWÕUPD\ROX\ODKDUHNHWPLPLNVHVYHV|]OHDQODWÕOPDVÕQDGD\DQDQELU\|QWHP úHNLOGH WDQÕPODQGÕ÷Õ GD J|UOPHNWHGLU14 _{Yine kaynaklarda NXOODQÕODQ /LQGYDDJ YH}

0RHQ WDUDIÕQGDQ \DSÕODQ WDQÕPD J|UH GUDPD |]HO RODUDN G]HQOHQHQ \DúDQWÕODUÕ VRPXW ELU úHNLOGH KLVVHWPH \ROX LOH VRV\DO HYUHQVHO YH VR\XW NDYUDPODUÕQ WDULK HGHEL\DWJLELNRQXODUÕQFDQODQGÕUÕODUDNDQODPOÕKDOHJHWLULOGL÷L|÷UHQLOGL÷LELUH÷LWLP yöntemidir.”15

%XWDQÕPODUGDQKDUHNHWOHGUDPD\ÕKHUKDQJLELUNDYUDPÕQNRQXQXQROD\ÕQ YH\D GHUVLQ  JUXS  \D GD ELUH\ WDUDIÕQGDQ WHPVLO \ROX\OD  R\XQODúWÕUDUDN FDQODQGÕUÕOGÕ÷ÕVRPXW\DúDQWÕODUDUDFÕOÕ\OD\DúDQÕUKDOHJHWLULOHUHNNDYUDQGÕ÷ÕV|]O YHV|]V]LOHWLúLPHGD\DQDQELU|÷UHWPH\|QWHPLRODUDNWDQÕPOD\DELOLUL] 'UDPD\ÕELUVWYHJHQHONDYUDPRODUDNNDEXOHGHUVHNEXNDYUDPÕQDOWÕQGD DúD÷ÕGDNLNDYUDPODUՁoEDúOÕNDOWÕQGDWDVQLIHWPHNPPNQGU DRAMA OYUN TIPSAL (öø76(/ YaraWÕFÕGUDPD Dramatik oyun Çocuk tiyatrosu Oyun Psikodrama

Sosyodrama 'R÷DoODPD Rol oynama 5ROGH÷LúWLUPH Kukla Pandomim Parmak oyunu Öykü-olay FDQODQGÕUPD =LKLQGHFDQODQGÕUPD

13_{ øQFL 6DQ ³<DUDWÕFÕOÕ÷Õ *HOLúWLUHQ %LU <|QWHP YH <DUDWÕFÕ %LUH\L <HWLúWLUHQ %LU 'LVLSOLQ (÷LWVHO} <DUDWÕFÕ'UDPD”, Yeni Türkiye Dergisi, s. 149.

14 _{Mahiye Morgül, (÷LWLPGH <DUDWÕFÕ 'UDPD\D 0HUKDED, s. 12; Cahit Kavcar, “gUJQ (÷LWLPGH} Dramatizasyon”, <DUDWÕFÕ 'UDPD <D]ÕODU -1995 (GW + gPHU $GÕJ]HO 1DWXUHO <D\ Ankara 2002, s. 21-23.

2.2. TIPSAL DRAMA

Psikodrama  3VLNRGUDPD KHP \HWLúNLQOHUGH KHP GH oocuklarda bir tedavi \|QWHPL RODUDN NXOODQÕODQ YH NLúLOHULQ NRUNXODUÕQÕ GX\JXODUÕQÕ ND\JÕODUÕQÕ WHPVLO \ROX\OD LIDGH HGHUHN LoJ|U ND]DQPDODUÕ VD÷ODQPDVÕ VRQXFX VRUXQODUÕQGDQ NXUWXOPDODUÕQÕ DPDoOD\DQ ELU \|QWHPGLU16

 3VLNRGUDPDQÕQ ND\QD÷Õ - /HY\ Moreno’QXQ GHQH\LP YH X\JXODPDODUÕGÕU%LU\|QWHP RODUDN GUDPDGDNDWÕOÕPFÕODU R\QDGÕNODUÕ UROOHU DUDFÕOÕ\OD |÷UHQLUNHQ SVLNRGUDPD GD ELUH\VHO YH NLúLOHU DUDVÕ VRUXQODUÕQÕQo|]PKHGHIOHQPHNWHGLU17

Sosyodrama:3VLNRGUDPDQÕQLOJLVLELUH\LNHQVRV\RGUDPDGDNRQX gruptur.

Sosyodramada bir grubun sosyal problemleri dramatize edilerek incelenir, SUREOHPOHUH o|]PDUDQÕU.ÕVDFDKHP SVLNRGUDPDKHPGHVRV\RGUDPD GD DPDo WHGDYLGLU'UDPD\|QWHPLQGHLVHDPDo|÷UHQPHNWLU18 7ÕSDODQÕ\ODLOJLOLGUDPD\ÕELU\DQDEÕUDNÕUVDNHVDVD\ÕUÕPÕQR\XQYHH÷LWVHO GUDPDDUDVÕQGDROGX÷XQXV|\OH\HELOLUL] 2.3. OYUN 2\XQODLOJLOLoHúLWOLWDQÕPODU\DSÕOPÕúWÕU2\XQJHQHORODUDNHOHDOÕQGÕ÷ÕQGD oRFXNOXN G|QHPLQLQ WHPHO HWNLQOL÷L oRFXN LoLQ |÷UHQPH JHOLúPH YH \HWLúNLQOL÷H KD]ÕUODQPDDUDFÕGÕU19

'UDPDQÕQN|NHQLQGHGHR\XQYDUGÕU%DúNDELUGH\LúOHGUDPD \|QWHPL H÷LWLPGH R\XQXQ NXOODQÕPÕ\OD RUWD\D oÕNPÕúWÕU $QFDN H÷LWLPGH GUDPD VDGHFHELUR\XQGH÷LOGLU2\XQYHH÷LWVHOGUDPDQÕQEHQ]HUOLNOHULYHIDUNOÕOÕNODUÕQÕúX úHNLOGHVÕUDOD\DELOLriz.

16 _{Hasan Tan, 3VLNRORMLN 'DQÕúPD YH 5HKEHUOLN 0(% <D\ øVWDQEXO  V  $\UÕFD} 3VLNRGUDPDKDNNÕQGDJHQLúELOJLLoLQEDNÕQÕ]'HQL]$OWÕQD\Psikodrama, Grup Psikoterapisi El .LWDEÕ6LVWHP<D\øVWDQbul 2003.

17_{1HULPDQ$UDOYHGL÷HUOHULDrama, s. 44; Alev Önder, <DúD\DUDNg÷UHQPHNøoLQ(÷LWLFL'UDPD., s. 38.} 18_{'HQL]$OWÕQD\3VLNRGUDPD*UXS3VLNRWHUDSLVL(O.LWDEÕ, s. 232.}

19_{ 1RUPD 5D]RQ ³<DUDWÕFÕOÕ÷Õ *HOLúWLULFL 2\XQOD (÷LWLP´ <DUDWÕFÕ 7RSOXP <ROXQGD dD÷GDú} (÷LWLP&HP<D\ÕQHYLøVWDQEXO s. 216.

(öø76(/'5$0$ OYUN

• 'UDPD\|QWHPLELU|÷UHQPHDUDFÕ olarak belirli bir konunun veya dersin KHGHIOHULQLQJHUoHNOHúWLULOPHVLLoLQ NXOODQÕOÕU

• Drama etkinlikleri bir lider WDUDIÕQGDQSODQOÕELUúHNLOGH düzenlenerek yürütülür. • Dramada kurallar oyuna göre esnektir.

• Drama yönteminde sonuçtan ya da UQGHQ]L\DGH\DúDQDQVUHo|QHPOLGLU Drama etkinliklerinde kaybetme,

kazanma YH\DQOÕú\DSPDNRUNXVX\RNWXU • Drama etkinlikleri sonunda

|÷UHQFLOHUWDUWÕúÕUODUYH GH÷HUOHQGLUPH\DSÕOÕU

• Oyunda böyle bir hedef yoktur.

• 2\XQoRFXNODUDUDVÕQGD NHQGLOL÷LQGHQEDúOD\DELOLU • Oyunda belirli kurallar

YDUGÕUYHEXNXUDOODUDR\XQD NDWÕODQODUX\PDN

]RUXQGDGÕUODU

• Bunun aksine, her oyunda sonuç önemlidir, ND\EHGHQYHND]DQDQYDUGÕU.

• Oyunda ise böyle bir durum söz koQXVXGH÷LOGLU2\XQ R\QDQÕUYHELWHU

• Hem oyunda hem de drama etkinliklerinde çocuklar dikkatlerini ve HQHUMLOHULQLHWNLQOLNOHUH\R÷XQELUúHNLOGH\|QOHQGLULUOHU

• Çocuklar drama etkinliklerini oyunRODUDNDOJÕODUODUGLNNDWOHULQLYH enerjilerini etkinliklerde toplarlar. 20

'UDPDQÕQND\QDNODUGDIDUNOÕLVLPOHUOH\HUDOGÕ÷ÕQÕGDKD|QFHEHOLUWPLúWLN%X LVLPOHULQ ED]HQ ELUELUOHULQLQ \HULQH GH NXOODQÕOGÕ÷Õ J|UOPHNWHGLU %X QHGHQOH EX NDYUDPODUNÕVDFDWDQÕWÕODUDNDUDODUÕQGDNLIDUNODUHOHDOÕQDFDNWÕU

<DUDWÕFÕ 'UDPD <DUDWÕFÕ GUDPD YH R\XQ \DSPD NDYUDPODUÕ ELUELUOHUL\OH GH÷LúWLULOHUHNGHNXOODQÕOPDNWDGÕU21_{<DUDWÕFÕGUDPDGDKDoRNoRFXNODUGD\DUDWÕFÕOÕ÷Õ}

JHOLúWLUPHN LoLQ NXOODQÕODQ GUDPD HWNLQOLNOHULQH YHULOHQ JHQHO ELU LVLPGLU %X HWNLQOLNOHUGH oRFXNODUÕQ ELU úH\ |÷UHQPHVL KHGHIOHQPH] GUDPD \ROX\OD oRFXNODUÕQ

20_{1$UDOYHGL÷HUOHULDrama, ss. 151-øQFL6DQ³6DQDWWD<DUDWÕFÕOÕN2\XQYH'UDPD”, <DUDWÕFÕ} 'UDPD<D]ÕODU-1995(G+gPHU$GÕJ]HO1DWXUHO<D\$QNDUDV-151; F. 7H]HOùDhin, “Oyun ve Drama”, 2NXOgQFHVL(÷LWLPGH'UDPD, Kök Yay., Ankara 2003, ss. 16-18; $\UÕFDR\XQYHGUDPDLOLúNLVL\OHLOJLOLGDKDJHQLúELOJLLoLQEDNÕQÕ]+gPHU$GÕJ]HOOyun ve <DUDWÕFÕ'UDPDøOLúNLVL$QNDUD$h6%(<D\ÕQODQPDPÕú\NVHNOLsans tezi).

\DUDWÕFÕOÕN \HWHQHNOHULQLQ JHOLúWLULOPHVL DPDoODQÕU <DUDWÕFÕ 'UDPD DGÕQÕ  :LQLIUHG :DUG0F&DVOLQJLEL$PHULND¶OÕGUDPDX]PDQODUÕQÕQWHUFLKHWWLNOHULJ|UOPHNWHGLU 22

Dramatik Oyun: Dramatik oyun çocXNODUÕQ GR÷DVÕQGD YDU RODQ WDNOLW

\HWHQH÷LQH ED÷OÕ RODUDN R\QDQÕU 'UDPDWLN R\XQ oRFXNOX÷XQ LON \ÕOODUÕQGD ELU oRFX÷XQ GHQH\VHO RODUDN |÷UHQPH \ROXGXU YH oRFXN oHYUHVLQL NHúIHWPHGH YH DQODPDGDEX\ROXNXOODQÕU23

Genelde çocuklar bir araya geldiklerinde, eYFLOLN R\XQXQGD ROGX÷X JLEL R\XQDEDúODUODU%XR\XQLoLQ|QFHGHQELUKD]ÕUOÕN\DSPD\DJHUHNGX\PD]ODU+HPHQ anne-EDED YH\D ELU |÷UHWPHQ UROQH JLUHUHN GDKD |QFH oHYUHVLQGHNL NLúLOHULQ GDYUDQÕúODUÕQÕ J|]OHPOHULQH ED÷OÕ RODUDN KD\DO JoOHULQL NXOODQDUDN rol yapmaya EDúODUODU %|\OHFH KHP NHQGLOHULQL LIDGH HWPH EHFHULVL ND]DQÕUODU KHP GH LQVDQODU DUDVÕ LOLúNLOHUL |÷UHQHUHN LOHULGH \HU DODFDNODUÕ \HWLúNLQ GQ\DVÕQD KD]ÕUODQPÕú olurlar.24 %X \|Q\OH GUDPDWLN R\XQ GUDPD \|QWHPLQLQ WHPHOLQL ROXúWXUXU dQN GUDPD \|QWHPLQGH R\XQODúWÕUPD \D GD FDQODQGÕUPD oRFXNODUÕQ GR÷DVÕQGD YDU RODQ GUDPDWLNR\XQXQELUWUGÕúDYXUXPXGXU

Çocuk Tiyatrosu 3URIHV\RQHO \HWLúNLQOHU YH oRFXNODU WDUDIÕQGDQ R\QDQÕU ø]OH\HQ oRFXNODUGD H÷OHQPH YH VDQDW VHYJLVL ROXúWXUPD DPDFÕ JGOU (÷LWLFL GUDPD oRFXN WL\DWURVX GH÷LOGLU25

Çocuk tiyatrosunda sahne ve kostüm önemlidir, GL\DORJODU H]EHUOHQLU dRFXN WL\DWURVXQGD R\XQ VH\LUFLOHU LoLQ R\QDQÕU +HU úH\GHQ |QFHELU\|QWHPRODUDNNXOODQÕODQH÷LWLFLGUDPDVH\LUFLOHULoLQR\QDQPD]JUXStaki KHUoRFXNGUDPDHWNLQOL÷LQHDNWLIRODUDNNDWÕOÕUYHNHQGLGR÷UXGDQ\DúDQWÕVÕ\ROXLOH |÷UHQLU26

2.4. (öø76(/'5$0$

'UDPDQÕQEXDGODNXOODQÕPÕøQJLOWHUH¶GH\D\JÕQGÕU'UDPDHWNLQOLNOHULH÷LWVHO ELUGH÷HUWDúÕUYHoRFX÷DIDUNOÕDODQODUGDNLNRQXODUÕQ|÷retilmesinde bir araç olarak

22 _{Alev Önder, <DúD\DUDNg÷UHQPHøoLQ(÷LWLFL'UDPD, s. 28.}

23 _{Neille McCaslin, a.g.e., V  7OLQ 6D÷ODP (÷LWLPGH 'UDPD YH 7UN dRFXNODUÕQÕQ 5LWHO} 1LWHOLNOL2\XQODUÕQÕQ(÷LWLPGH'UDPGD.XOODQÕPÕ, s. 1.

24_{1HULPDQ$UDOYHGL÷HUOHULDrama, s. 39.}

25_{ øQFL 6DQ ³(÷LWLP-g÷UHWLPGH <DúD\DUDN g÷UHQPH <|QWHPL YH (VWHWLN 6UHo 2ODUDN <DUDWÕFÕ} Drama”, <DUDWÕFÕ 'UDPD <D]ÕODU 1985-1995  (G + gPHU $GÕJ]HO Naturel Yay., Ankara 2002, s. 70.

26 _{Alev Önder, <DúD\DUDNg÷UHQPHNøoLQ(÷LWLFL'UDPD., s. 30; Aysun Gürol, 2NXO|QFHVL(÷LWLP} g÷UHWPHQOHUL LOH 2NXO|QFHVL g÷UHWPHQ $GD\ODUÕQÕQ 'UDPD\D øOLúNLQ .HQGLOHULQL <HWHUOL Bulma Düzeylerinin Belirlenmesi, s. 11.

NXOODQÕOÕU27_{(÷LWVHOGUDPD\DUDWÕFÕGUDPD\ÕGDLoHUHQúHPVL\HELUNDYUDPGÕU(÷LWVHO}

GUDPDQÕQ \DUDWÕFÕ GUDPDGDQ IDUNÕ \DUDWÕFÕOÕ÷D GH÷LO |÷UHQPH VUHFLQH RGDNODúPDVÕGÕU28_{*HQHOGHGUDPDELU|÷UHWLP\|QWHPLRODUDNNXOODQÕOGÕ÷ÕQGDEXDG}

verilmektedir.

3. '5$0$<g17(0ø1'(.8//$1,/$17(.1ø./(5 'UDPD\|QWHPLNHQGLLoLQGHELUoRNWHNQL÷LEDUÕQGÕUPDNWDGÕU

a) 'R÷DoODPD: 'UDPD HWNLQOLNOHUL DUDVÕQGD KHUKDQJL ELU PHWQH ED÷OÕ ROPDGDQ LoWHQ JHOGL÷L JLEL YH daha çok serbest olarak gelLúHQ HQ |QHPOL oDOÕúPD tekniklerinden biridir.29

'R÷DoODPDVUHFLLQVDQODUÕQJQONKD\DWODUÕQGDYHoRFXNODUÕQR\XQODUÕQGD VÕNoD J|]OHPOHQLU <HQL WDQÕúDQ LNL NLúLQLQ ELUELUOHUL\OH RODQ GL\DORJX DQQH EDED UROQ R\QD\DQ oRFXNODUÕQ GDYUDQÕúODUÕ EXQD |UQHN gösterilebilir.30

 'R÷DoODPDGD \HWLúNLQOHU YH oRFXNODU EHOLUOL ELU VHQDU\R\D J|UH GH÷LO LoOHULQGHQ JHOGL÷L úHNOL\OH GDYUDQÕUODU <DQL R DQGD ]LKLQOHULQGH ROXúWXUDUDN HWNLOHúLPGH EXOXQXUODU 2\XQODúWÕUPDYHR\QDPDVUHFLWDPDPHQ|÷UHQFLOHULQNHQGLWHFUEHOHULQLQNDWNÕVÕLOH ROXúXU31_{ %DúND ELU WDQÕPOD GR÷DoODPD ELU \D]ÕOÕ PHWQL GH÷LO ]LKLQGH FDQODQDQÕ}

R\QDPD GHPHNWLU .HVLQOHúPLú HYUHOHUL ROPD\DQ |]JQ ELU VUHoWLU +HUKDQJL ELU ROD\Õ GXUXPX DQÕ GúQPHGHQ \DúDPD YH ROD\ GXUXP DQ ELWWLNWHQ VRQUD QDVÕO yaúDGÕ÷ÕPÕ]ÕGúQPHJLELELUVUHoV|]NRQXVXGXU32

'R÷DoODPDQÕQ EX úHNLOGH |]JQ ELU VUHo RODUDN \DúDQPDVÕ GR÷UXGDQ GR÷UX\D oRFXNODUÕQ \DUDWÕFÕ \HWHQHNOHULQLQ JHOLúPHVLQGH |QHPOL GHUHFHGH HWNLOLGLU %XQXQ \DQÕQGD GR÷DoODPD  |÷UHQFLOHULQ ED÷ÕPVÕ] GúQHEilme, karar alabilme, VRUXPOXOXN VWOHQPH LúELUOL÷LQH JLUHELOPH VRV\DO GX\DUOÕOÕN \DUDWPD V|]HO YH V|]V]RODUDNGDKDL\LELULOHWLúLPEHFHULVLND]DQPDVÕQD\DUGÕPFÕROXU33

27 _{McCaslin, &UHDWLYH'UDPDøQ7KH Classroom And Beyond, s. 12.}

28 _{Ann Siege Drege, 'UDPD øQ 7KH +LJK 6FKRRO (QJOLVK &ODVVURRP 3HGHJRJLFDO 7KHRU\ $QG}

Practical Application, s. 7.

29_{)DWPD7H]HOùDKLQ, “'R÷DoODPDYH5RO2\QDPD”, 2NXOgQFHVL(÷LWLPGH'UDPD, s. 152; Alev} Önder, <DúD\DUDN g÷UHQPH øoLQ (÷LWLFL 'UDPD, s. 140; Aysun Gürol, 2NXO|QFHVL (÷LWLP g÷UHWPHQOHUL LOH 2NXO|QFHVL g÷UHWPHQ $GD\ODUÕQÕQ 'UDPD\D øOLúNLQ .HQGLOHULQL <HWHUOL Bulma Düzeylerinin Belirlenmesi, s. 28.

30_{+gPHU$GÕJ]HO2\XQYH<DUDWÕFÕ'UDPDøOLúNLVL, s. 117.} 31 _{N. AraOYH'L÷HUOHULDrama, s. 114.}

32_{7OD\hVWQGD÷<DUDWÕFÕ'UDPDg÷UHWPHQLQLQ*QO÷, Pegema Yay., Ankara 2003, s. 30.} 33 _{)DWPD7H]HOùDKLQ, a.g.m., 2NXOgQFHVL(÷LWLPGH'UDPD s. 152.}

Drama etkinliklerinde GR÷DoODPDQÕQ oHúLWOL WUOHULQGHQ \DUDUODQÕODELOLU Bunlar: NLúLOHUYHRQODUÕQNHQGLOHULQH|]JQ|]HOOLNOHULQLDODQNDUDNWHUGR÷DoODPDODUÕ REMHOHULQ GúOHQPHVLQGHQ JHOLúWLULOHQ GR÷DoODPDODU EHGHQL NXOODQDUDN \DSÕODQ GR÷DoODPDODU EDúÕ VRQX YH\D RUWDVÕ YHULOHQ úLLU hikâye, masal ya da filmi tamamlamaya yönelik dR÷DoODPDODUJ|VWHULOHQELUIRWR÷UDISRUWUHYHUHVPLGúOHPH LOH LOJLOL GR÷DoODPDODU YH LQVDQODU DUDVÕ HWNLOHúLPLQ NROD\FD J|]OHQHELOHFH÷L RNXO SD]DU\HULJLELROD\YHGXUXPODUGDQND\QDNODQDQGR÷DoODPDODUGÕU34

b) Pandomim: 'L÷HU ELU GUDPD WHNQL÷L Rlarak pandomim, fikirleri söz

NXOODQPDGDQ LOHWPH VDQDWÕGÕU dRFXNODUÕQ oR÷X GúQFHOHUL EHGHQ \ROX\OD LIDGH HGHUOHU|]HOOLNOHEHúDOWÕ\DúÕQGDNLoRFXNODUSDQGRPLPLGR÷DOELULIDGH\ROXRODUDN NXOODQÕUODU35

 dRFXNODU YH KDWWD \HWLúNLQOHU DUDVÕQGD R\QDQDQ VHssiz sinema diye DGODQGÕUÕODQELUR\XQYDUGÕU%XR\XQGDELUNLúLGL÷HUOHULQHNRQXúPDGDQKDUHNHWOHUOH NLúLDGDODUÕILOPYH\DGL]LDGÕQÕDQODWPD\DGL÷HUOHULGHDQODWÕODQÕELOPH\HoDOÕúÕUODU

3DQGRPLPGH |÷UHQFLOHU V|]FN \HULQH KDUHNHWOHUOH ELU úH\L FDQODQGÕUÕUODU veya oynarlar.36 %X WHNQLN J|]OHP GLNNDWL \R÷XQODúWÕUPD YH EHGHQVHO EHFHULOHULQ gücüne dayanan bir ifade biçimidir.370F&DVOLQJUXSOD\DSÕODQSDQGRPLPLQoRFXNWD ]LKLQGHFDQODQGÕUPDEHFHULVLQLJHOLúWLUGL÷LQHIDUNÕQGDOÕNG]H\LQLDUWÕUGÕ÷ÕQDGLNkat oHNPLúWLU38_{ 3DQGRPLP oRFXNODUÕQ KHP ELUH\VHO KHP GH JUXSOD}

JHUoHNOHúWLUHELOHFHNOHUL ELU GUDPD HWNLQOL÷LGLU (Q EDVLW SDQGRPLP HWNLQOL÷L ELOH GLNNDWL DUWÕUÕU YH KD\DO JFQQ JHOLúPHVLQH IÕUVDW YHULU $\UÕFD oRFXNODUÕQ NHQGL bedenlerini ve beden diliniWDQÕPDODUÕQD\DUGÕPFÕROXU%X\ROOD|÷UHQFLOHULQLOHWLúLP EHFHULOHUL|]HOOLNOHGHMHVWYHPLPLNOHULQR\XQLoLQGHNXOODQPDVÕ\ODV|]V]LOHWLúLP EHFHULOHULGHJHOLúLU39

3DQGRPLPGUDPDHWNLQOLNOHULLoHULVLQGHoRFXNODUÕQNDWÕOPDNWDQ]HYNDOGÕNODUÕ bir tekQLNWLU %X |]HOOL÷L LOH SDQGRPLP GUDPD \|QWHPLQLQ LON GHID X\JXODQDFD÷Õ VÕQÕIODUGD|÷UHQFLOHULGUDPDHWNLQOLNOHULQHKD]ÕUODPDNDPDFÕ\ODNXOODQÕODELOLU40

34_{1$UDOYHGL÷HUOHULa.g.e., s. 115.}

35 _{Neille McMaslin, Creative DramaøQ7KH&ODVVURRP$QG%H\RQG, s. 71} 36_{1$UDOYHGL÷HUOHULDrama, s. 110.}

37 _{Aysun Gürol, 2NXO|QFHVL(÷LWLPg÷UHWPHQOHULLOH2NXO|QFHVLg÷UHWPHQ$GD\ODUÕQÕQ'UDPD\D} øOLúNLQ.HQGLOHULQL<HWHUOL%XOPD']H\OHULQLQ%HOLUOHQPHVL, s. 29.

38 _{Alev Önder, <DúD\DUDNg÷UHQPHøoLQ(÷LWLFL'UDPD, s. 142.}

39_{$GDOHW.DQGÕU³3DQGRPLP´2NXOgQFHVL(÷LWLPGH'UDPD, Kök Yay., 2003 Ankara, s. 113.} 40_{1$UDOYHGL÷HUOHULa.g.e., s. 110.}