Dijital kültür ortamında köy seyirlik oyunları
Theatrical village plays in digital culture environment
- Tez No: 868256
- Danışmanlar: DOÇ. DR. EMİNE ÇAKIR
- Tez Türü: Yüksek Lisans
- Konular: Halk Bilimi (Folklor), Folklore
- Anahtar Kelimeler: Belirtilmemiş.
- Yıl: 2024
- Dil: Türkçe
- Üniversite: Ankara Hacı Bayram Veli Üniversitesi
- Enstitü: Lisansüstü Eğitim Enstitüsü
- Ana Bilim Dalı: Türk Halk Bilimi Ana Bilim Dalı
- Bilim Dalı: Türk Halkbilimi Bilim Dalı
- Sayfa Sayısı: 223
Özet
Geleneksel Türk tiyatrosunun önemli bir unsuru olan köy seyirlik oyunları yapısı itibarıyla toplu olarak bir araya gelme, sosyalleşme, paylaşma ve eğlenme gibi birçok işlevi içinde barındıran oyunlardır. Ritüellere dayanan kökeni ve uygulamalarıyla kültürel ögelerin taşıyıcılığını yapan köy seyirlik oyunlarının Türk tiyatrosunun temelini oluşturduğu kabul edilmektedir. Dijital kültür çağında devam ettiği gözlemlenen oyunların, dijital dönüşümü bu araştırmanın konusudur. Çalışmada köy seyirlik oyunlarının dijital kültür ortamında paylaşma ve izlenme nedenlerini araştırarak, köy seyirlik oyunlarının dijital kültürde nasıl yaşatıldığını ortaya koymak amaçlanmaktadır. Araştırmada, dijital ortamda yer alan sosyal etkileşimleri incelemede etkili nitel yöntemlerden netnografik araştırma desenine başvurulmuştur. Buna göre YouTube platformunda paylaşılan köy seyirlik oyunu içerikli videoların detaylı incelemesi yapılarak, yayıncıların amaçları, videoların türleri ve izler kitlenin yorumları analiz edilmiştir. Köy seyirlik oyunlarının dijital ortamda paylaşılma amacıyla, izler kitlenin bu oyunları izlemekten aldığı doyumları karşılaştırabilmek için kullanımlar ve doyumlar yaklaşımı yönteminden faydalanılmıştır. Bu yöntemle izler kitle ve yayıncılar hakkında anlamlı bir değerlendirmeye ulaşılmıştır. Araştırma üç bölümden oluşmakta olup birinci bölümde köy seyirlik oyunlarının tanımı, icrası, işlevi ve mevcut çalışmalara yer verilmiştir. İkinci bölümde ise dijital kültür ortamı ve halk bilimi alanına özgü, bu çalışmada öncül olarak kullanılan kullanımlar ve doyumlar yaklaşımı hakkında bilgi verilerek araştırmadaki rolü aktarılmıştır. Üçüncü bölümde ise elde edilen verilerin incelenmesinde, araştırmacı tarafından özel bir sınıflandırma geliştirilmiştir. Elde edilen veriler, araştırmacı tarafından videolar/kayıtlar, yayıncılar ve izler kitle olmak üzere üç ana kategoriye ayrılmıştır. Bu sınıflandırmaya göre köy seyirlik oyun videoları dijital ortamda doğal, tam ve yarı kurgu kayıtlar şeklinde temsil edilmektedir. Yayıncılar paylaştıkları bu kayıtlara göre dijital kültür aktarıcıları, kişisel dijital arşivciler ve dijital içerik üreticileri şeklinde gruplandırılmış ve kayıtları paylaşım amaçlarına göre analiz edilmiştir. İzler kitlenin de videolara yaptıkları yorum ve beğeniler incelenerek elde ettikleri doyumlar, sınıflandırılmıştır. Buna göre izler kitlenin beğeni, hatıra/geçmişe duyulan özlem, kültürel aktarım, sosyalleşme, bilgi edinme ve uluslararası etkileşimde bulunma gibi amaçlarla köy seyirlik oyunlarını izledikleri ve doyum elde ettikleri görülmektedir. Araştırmada izler kitlenin köy seyirlik oyunlarını dijital ortamda seyrederken de keyif aldıkları sonucuna ulaşılmıştır. Elde edilen bulgular, köy seyirlik oyunlarındaki izler kitlenin, aktif izler kitle olduğu tezini desteklemektedir. Dijital ortamdaki köy seyirlik oyunları, ihtiyaçlar ve beklentiler doğrultusunda izlenmekte ve paylaşılmaktadır.
Özet (Çeviri)
Theatrical village plays, which are an important part of traditional Turkish theater, are plays that contain many functions such as coming together, socializing, sharing and having fun due to their structure. It is accepted that theatrical village plays, which carry cultural elements with their origin and practices based on rituals, form the basis of Turkish theater. How these plays, which are observed to continue in the age of digital culture, are affected by digital transformation is the subject of this research. The aim of the study is to investigate the reasons for sharing and watching Theatrical village plays in the digital culture environment and to reveal how theatrical village plays are kept alive in digital culture. In the study, netnographic research design, which is one of the effective qualitative methods in examining social interactions in the digital environment, was used. Accordingly, a detailed examination of the videos with the content of the theatrical village plays shared on the YouTube platform was made, and the aims of the publishers, the types of videos and the comments of the audience were analyzed. In order to share the theatrical village plays in the digital environment, the usage and gratifications approach method was used to compare the satisfaction of the audience from watching these plays. With this method, a significant evaluation was reached about the audience and publishers. In the first part of the research, the definition, performance, function and previous studies of theatrical village plays are included. In the second part, information is given about the digital culture environment and the usage and gratifications approach used for the first time in the field of folklore and its role in the study is explained. In the third part, a special classification was developed by the researcher in the examination of the data obtained. The data obtained was divided by the researcher into three main categories: videos/recordings, broadcasters, and audiences. According to this classification, village plays videos are represented in the digital environment as natural, full and semi-fictional recordings. According to these records, publishers were grouped as digital culture transmitters, personal digital archivists and digital content producers, and their records were analyzed according to their sharing purposes. The comments and likes of the audience on the videos were examined and the satisfaction they obtained was classified. Accordingly, it is seen that the audience watches the village spectacle games for purposes such as appreciation, memory/longing for the past, cultural transfer, socialization, obtaining information and international interaction and gets satisfaction. In the research, it was concluded that the audience also enjoyed watching the village plays in the digital environment. The findings revealed that the audience that followed the theatrical village plays confirmed the thesis of the active audience. In line with their needs and expectations, people watch and share theatrical village plays in a digital environment.Theatrical village plays, which are an important part of traditional Turkish theater, are plays that contain many functions such as coming together, socializing, sharing and having fun due to their structure. It is accepted that theatrical village plays, which carry cultural elements with their origin and practices based on rituals, form the basis of Turkish theater. How these plays, which are observed to continue in the age of digital culture, are affected by digital transformation is the subject of this research. The aim of the study is to investigate the reasons for sharing and watching Theatrical village plays in the digital culture environment and to reveal how theatrical village plays are kept alive in digital culture. In the study, netnographic research design, which is one of the effective qualitative methods in examining social interactions in the digital environment, was used. Accordingly, a detailed examination of the videos with the content of the theatrical village plays shared on the YouTube platform was made, and the aims of the publishers, the types of videos and the comments of the audience were analyzed. In order to share the theatrical village plays in the digital environment, the usage and gratifications approach method was used to compare the satisfaction of the audience from watching these plays. With this method, a significant evaluation was reached about the audience and publishers. In the first part of the research, the definition, performance, function and previous studies of theatrical village plays are included. In the second part, information is given about the digital culture environment and the usage and gratifications approach used for the first time in the field of folklore and its role in the study is explained. In the third part, a special classification was developed by the researcher in the examination of the data obtained. The data obtained was divided by the researcher into three main categories: videos/recordings, broadcasters, and audiences. According to this classification, village plays videos are represented in the digital environment as natural, full and semi-fictional recordings. According to these records, publishers were grouped as digital culture transmitters, personal digital archivists and digital content producers, and their records were analyzed according to their sharing purposes. The comments and likes of the audience on the videos were examined and the satisfaction they obtained was classified. Accordingly, it is seen that the audience watches the village spectacle games for purposes such as appreciation, memory/longing for the past, cultural transfer, socialization, obtaining information and international interaction and gets satisfaction. In the research, it was concluded that the audience also enjoyed watching the village plays in the digital environment. The findings revealed that the audience that followed the theatrical village plays confirmed the thesis of the active audience. In line with their needs and expectations, people watch and share theatrical village plays in a digital environment.
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