Akademik Veri Yönetim Sistemi
International Graduate Research Symposium - IGRS’24, İstanbul, Türkiye, 8 - 10 Mayıs 2024, ss.1-15, (Tam Metin Bildiri)
The behavioural structure of the human, the experiencer of space, requires integrity and continuity within a psycho-physical process. According to the studies that prove the unity of the psychological and physical, body and soul are shaped as a whole. For Jacques Lacan psychoanalytic theory, it is necessary to say that it is basically an approach that investigates the meaning and cause of human behaviour and mental processes. It is known that Lacanian psychoanalysis was examined in this context by the 20th century theatre theorist Konstantin Stanislavski, used for the techniques and designed for the actor's character creation, which he called a technique developed by Stanislavski with a discourse similar to the staging method of traditional theatre, is inspired by the duality of body and soul of psychoanalysis. According to Stanislavski, the actor process of creating the character is based on an inner - psychological and, conversely, an outer - physical technique. While the Inner - Psychological technique is the Method of Psychological Actions, which is the method of reaching from emotion to action, the Outer - Physical technique is the Method of Physical Actions, which is the method of reaching from action to emotion. This integrity and continuity between emotions and actions is reminiscent of Peter Zumthor's identification with the space and the user of that space, and Stanislavski's identification of the actor's self first with the character of the play and then with the audience. So much so that, like a theatre director, it first breaks down the Text and then, through the Actions on the actor produced by it, it reproduces the play and thus the play Space. Lacan's Ego, which is established on the mirror stage, also produces itself through the “other”. In this context, the study spatially textualises the reconstitution through the Alterity Theory as a method. Lacan's early Ego, established on the mirror stage, takes on the character created by the actor on Stanislavski's stage. The identification of this character on the stage reappears in the space as a sign of human integration with space. Zumthor's intertextual reading of space, analysed through a Lacanian perspective and Stanislavskian method, re-models the spatial archetypes of avant-garde theory. The correlative relationship between the product to be staged (a theatre play or a lived space) and the texts written (anything that can be the material of avant-garde theory) is questioned in design decisions. With the contributions of Stanislavski's duality and Lacan's Mirror Stage, the study reveals new performative meanings through an architectural space, and by adding these new meanings to intertextuality, it adds a new topic of discussion to the stage of history.