{"id":5966,"date":"2026-03-27T00:30:02","date_gmt":"2026-03-26T21:30:02","guid":{"rendered":"https:\/\/psikopolitikdergi.com\/?p=5966"},"modified":"2026-04-26T00:12:59","modified_gmt":"2026-04-25T21:12:59","slug":"tiyatroda-kitle-psikolojisi","status":"publish","type":"post","link":"https:\/\/psikopolitikdergi.com\/2026\/03\/27\/tiyatroda-kitle-psikolojisi","title":{"rendered":"Tiyatroda Kitle Psikolojisi"},"content":{"rendered":"\n

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R\u00f6portaj: Orhan Ayd\u0131n – Tiyatro Oyuncusu<\/strong><\/p>\n\n\n\n

1 – Tiyatro tarihsel olarak kitleleri harekete ge\u00e7iren bir ara\u00e7 oldu mu?<\/strong><\/p>\n\n\n

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\u0130nsanl\u0131k tarihinde tiyatronun kitleleri harekete ge\u00e7iren say\u0131l\u0131 \u00f6rnekleri var ama benim en \u00e7ok ilgimi \u00e7eken tarihimizin ilk oyunculuk merkezi olmu\u015f Teos Antik Kenti\u2019ndeki toplumsalla\u015fm\u0131\u015f olayd\u0131r. Teos halk\u0131 denizcilik ve \u015farap\u00e7\u0131l\u0131kla u\u011fra\u015fan mutlu bir halkt\u0131r. Ancak \u00fcz\u00fcm ba\u011flar\u0131n\u0131n ve denizcili\u011fin birtak\u0131m zenginlerin g\u00fcd\u00fcm\u00fcnde olmas\u0131na ve her g\u00fcn s\u00f6m\u00fcr\u00fcn\u00fcn artarak bir zul\u00fcm haline d\u00f6n\u00fc\u015fmesine, f\u0131s\u0131lt\u0131yla da olsa ses \u00e7\u0131karan baz\u0131 s\u00f6ylentiler olu\u015fur. Ege adalar\u0131ndan gelip buraya yerle\u015fen ve kendi kolonilerini kuran oyuncular, bu durumdan rahats\u0131z olur ve ortakla\u015f\u0131p Deniz-\u015earap-S\u00f6m\u00fcr\u00fc \u00e7ark\u0131n\u0131 anlatan bir oyun oynarlar. Bu bir \u015fark\u0131l\u0131-dansl\u0131 ayd\u0131nlanma e\u015fi\u011fidir ve oyun duyulduk\u00e7a \u00fcz\u00fcm \u00fcreticileri ile bal\u0131k\u00e7\u0131lar tiyatroyu doldurmaya ba\u015flarlar. Sonunda olan olur ve halk s\u00f6m\u00fcr\u00fc \u00e7ark\u0131n\u0131 de\u011fi\u015ftirecek birlikte \u00fcretme, birlikte t\u00fcketme ve \u00fcr\u00fcnlerin birlikte pazarlanmas\u0131nda ortakla\u015f\u0131p zulm\u00fc ve s\u00f6m\u00fcr\u00fcy\u00fc yenerler. Masal gibidir.<\/p>\n\n\n\n

Anadolu co\u011frafyas\u0131nda ise ne yak\u0131n zamanlarda ne \u015fimdilerde b\u00f6ylesi bir \u00f6rnekleme yoktur. Ancak elbette tiyatro karanl\u0131\u011f\u0131n ortas\u0131ndaki \u0131\u015f\u0131kt\u0131r ve sahneler o \u0131\u015f\u0131\u011f\u0131n kayna\u011f\u0131d\u0131r. Haks\u0131zl\u0131\u011f\u0131-hukuksuzlu\u011fu yere \u00e7alar, birlikte ya\u015famay\u0131-dayan\u0131\u015fmay\u0131 k\u0131\u015fk\u0131rt\u0131r. \u00dclkemin d\u00fcn\u00fc bu saptamalar\u0131n \u00f6rnekleriyle doludur.\u00a0<\/p>\n\n\n\n

2 – Politik bask\u0131 d\u00f6nemlerinde tiyatro salonlar\u0131 nas\u0131l bir psikolojik i\u015flev g\u00f6r\u00fcr?<\/strong> <\/p>\n\n\n\n

Politik bask\u0131 d\u00f6nemleri \u00f6zellikle \u00fclkemizde \u00f6nce sanat\u0131 ve sanat\u00e7\u0131lar\u0131 \u00f6tekile\u015ftirip d\u00fc\u015fman ilan eder. D\u00fcnyada ve \u00fclkemdeki t\u00fcm gerici darbeler d\u00f6nemi, bu t\u00fcr sanc\u0131lar ve a\u011f\u0131r d\u00fc\u015fmanl\u0131klarla an\u0131l\u0131r. Yasaklar, oyuncu ve yarat\u0131c\u0131lar\u0131 tutuklamalar, tiyatrolar\u0131n kap\u0131lar\u0131na m\u00fch\u00fcr \u00e7akmalar, bu d\u00f6nemlerin de\u011fi\u015fmez uygulamas\u0131d\u0131r. 12 Mart ve 12 Eyl\u00fcl karanl\u0131\u011f\u0131ndan i\u00e7inde benimde oldu\u011fum onlarca \u00f6rnek vermek m\u00fcmk\u00fcnd\u00fcr. Ancak sanat, insanl\u0131\u011f\u0131 bu zulme hep direnmi\u015f ve seyirci bu direni\u015fe her zaman ortak olmu\u015ftur.<\/p>\n\n\n\n

3 – Tiyatro, kolektif belle\u011fin korunmas\u0131nda nas\u0131l bir rol oynar?<\/strong><\/p>\n\n\n\n

Tiyatro birlikte yarat\u0131lan bir sanat alan\u0131d\u0131r. Yazar\u0131, y\u00f6netmeni, oyuncular\u0131 ve her t\u00fcr tasar\u0131mc\u0131s\u0131 \u00f6nce neyi nas\u0131l yapacaklar\u0131nda ortakla\u015f\u0131rlar. Elbette uygulay\u0131c\u0131n\u0131n \u00f6zg\u00fcrl\u00fcklerinin \u00f6n\u00fcn\u00fc a\u00e7arak. Bu kolektif ruhun, sanat alan\u0131ndaki en belirgin \u00f6rne\u011fidir.<\/p>\n\n\n

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4 – Tiyatro, otorite fig\u00fcrlerini \u00e7\u00f6zmek i\u00e7in bir laboratuvar olabilir mi?<\/strong> <\/p>\n\n\n\n

Tiyatro sanat\u0131 bilimdir. T\u00fcm sanat alanlar\u0131ndan, edebiyattan, felsefeden, insanl\u0131\u011f\u0131n kazan\u0131mlar\u0131ndan, d\u00fcnden ve gelecekten beslenir. Oyun denen baz\u0131 m\u00fcsamereler, elbette bunun d\u0131\u015f\u0131ndad\u0131r. De\u011fi\u015ftirmek, ak\u0131l zenginli\u011fi yaratmak ve \u00e7a\u011fa tan\u0131kl\u0131k bir g\u00f6rev olarak g\u00f6r\u00fcld\u00fc\u011f\u00fcnde elbette laboratuvar ger\u00e7ekli\u011fi temeldir. Otoritenin t\u00fcm fig\u00fcrleri sermayeden kolluk kuvvetlerine, bask\u0131 ve zul\u00fcm g\u00f6ren emek d\u00fcnyas\u0131na, yoksullu\u011fa, do\u011fa, hayvan ve kad\u0131n hi\u00e7lenmesine ayna tutmak bir g\u00f6revse, bu aynay\u0131 k\u0131r\u0131p par\u00e7alamak da bir g\u00f6revdir. Laboratuvar, bu g\u00f6revin bi\u00e7imini olu\u015fturmak i\u00e7in her t\u00fcr \u00e7al\u0131\u015fman\u0131n ortakla\u015fa yap\u0131ld\u0131\u011f\u0131 bir yarat\u0131m s\u00fcreci olarak d\u00fc\u015f\u00fcn\u00fclmelidir. Oyuncunun beden diliyle metnin uyumu ve bu uyumu \u015fekillendiren estetik anlay\u0131\u015f, ku\u015fkusuz titiz bir ara\u015ft\u0131rman\u0131n meyvesi olmal\u0131d\u0131r.<\/p>\n\n\n\n

5 – Bug\u00fcn tiyatro, kitle psikolojisini d\u00f6n\u00fc\u015ft\u00fcrme potansiyeline h\u00e2l\u00e2 sahip mi?<\/strong><\/p>\n\n\n\n

Maalesef de\u011fildir. Umutlar\u0131 karart\u0131lm\u0131\u015f toplumlar k\u00fc\u00e7\u00fck sevin\u00e7ler pe\u015finde ko\u015farlar. Bask\u0131n\u0131n, dayatman\u0131n, yasaklar\u0131n oldu\u011fu co\u011frafyalarda \u00f6rg\u00fctlenmemi\u015f, kendi \u00e7\u0131kar\u0131 pe\u015finde ko\u015fan bireylerin \u00f6zg\u00fcrle\u015fmesidir istenen. Kendi ininde, kendi yaln\u0131zl\u0131\u011f\u0131nda ve \u00e7aresizli\u011finde… Burada a\u015fk yoktur, bar\u0131\u015f yoktur, mutluluk hi\u00e7 yoktur. Birlikte ya\u015fama, birlikte gelece\u011fi kurma d\u00fc\u015f\u00fc yok edilmi\u015ftir. Kapitalizmde sanat ve tiyatro , yaln\u0131zca bir e\u011flence alan\u0131d\u0131r ve o da paran\u0131n padi\u015fahl\u0131\u011f\u0131na teslim olmu\u015fsa, \u00e7\u0131k\u0131\u015f kendili\u011finden t\u0131kanm\u0131\u015ft\u0131r. Paketlenir, etiketlenir ve bir meta haline d\u00f6n\u00fc\u015ft\u00fcr\u00fcl\u00fcr. \u00c7\u0131k\u0131\u015fsa d\u00fcn oldu\u011fu gibidir. Ger\u00e7e\u011fin izinde, ortak ve mutlu ya\u015fanacak bir gelece\u011fin kurulmas\u0131 i\u00e7in dayan\u0131\u015farak \u00fcretmek. Karanl\u0131\u011f\u0131 ayd\u0131nlatacak tek g\u00fc\u00e7 bu dayan\u0131\u015fman\u0131n yakaca\u011f\u0131 \u0131\u015f\u0131kta gizlidir.<\/p>\n\n\n\n

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R\u00f6portaj: Orhan Ayd\u0131n – Tiyatro Oyuncusu 1 – Tiyatro tarihsel olarak kitleleri harekete ge\u00e7iren bir ara\u00e7 oldu mu? \u0130nsanl\u0131k tarihinde tiyatronun kitleleri harekete ge\u00e7iren say\u0131l\u0131 \u00f6rnekleri [\u2026]<\/span><\/p>\n","protected":false},"author":270452333,"featured_media":5973,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_wpcom_ai_launchpad_first_post":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"[]","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"_wpas_customize_per_network":false,"jetpack_post_was_ever_published":false},"categories":[1539],"tags":[1378,1580,1444,1582,1403,1581,1579],"class_list":["post-5966","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-tiyatro-dosyasi","tag-elestirel-psikoloji","tag-kitle-psikolojisi","tag-politik-psikoloji","tag-psikodrama","tag-psikolog","tag-sanat-psikolojisi","tag-tiyatro"],"yoast_head":"\nTiyatroda Kitle Psikolojisi - Orhan Ayd\u0131n<\/title>\n<meta name=\"description\" content=\"Tiyatro birlikte yarat\u0131lan bir sanat alan\u0131d\u0131r. Yazar\u0131-y\u00f6netmeni-oyuncular\u0131-her t\u00fcr tasar\u0131mc\u0131s\u0131 \u00f6nce neyi nas\u0131l yapacaklar\u0131nda ortakla\u015f\u0131rlar.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/psikopolitikdergi.com\/2026\/03\/27\/tiyatroda-kitle-psikolojisi\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Tiyatroda Kitle Psikolojisi - Orhan Ayd\u0131n\" \/>\n<meta property=\"og:description\" content=\"Tiyatro birlikte yarat\u0131lan bir sanat alan\u0131d\u0131r. 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