Kürşad DEMİRUTKU, Derya AĞAOĞLU

3536

Tiyatro İzleyicisinin Akış Deneyimi: Duygudurumların Çeşitliliği, Yoğunluğu ve Değerliği Hipotezlerinin Sınanması

Bu çalışmanın amacı tiyatro izleyicisinin akış ve ilişkili duygudurum deneyimlerini incelemektir. İlgili alanyazından hareketle oyun sırasındaki akış deneyiminin daha çeşitli, daha yoğun ve daha olumlu duygu deneyimiyle ilişkili olacağı hipotezleri önerilmiştir. Ankara’daki özel bir tiyatroda Gideon’un Düğümü adlı tiyatro oyununu izlemeye gelen 146 gönüllü katılımcıya oyunun hemen bitiminde bu araştırmaya özel tasarlanan ölçekler uygulanmıştır. Bulgular, izleyicilerin tiyatro oyunu sırasında yüksek düzeyde akış deneyimlediğini göstermiş ve araştırmanın hipotezlerini çoğunlukla desteklemiştir. Beklenmedik bazı bulgular da hesaba katılarak tiyatro izleyicisinin öznel deneyimini akış kavramı ile açıklayan bir model önerilmiştir. Sonuçlar, araştırmanın yöntemsel sınırlılıkları ve alternatif açıklamalar çerçevesinde, sanat eserlerinin psikoterapi bağlamında kullanılmasına yönelik doğurguları ile birlikte tartışılmıştır.

Flow Experience of the Theatre Audience: Testing the Affective Variety, Intensity, and Valence Hypotheses

The purpose of the present study was to investigate the flow and related affective experience of the theatre audience. It was hypothesized that the flow experience during play would be associated with highly varied, more intense and more positive affective experience on the basis of the relevant literature. Immediately after the play was over, the scales which were specifically designed for this study were administered to 146 voluntary participants who came to watch the play entitled Gideon’s Knot staged in a private theatre in Ankara. The findings indicated that the audience experienced high level of flow during the play and mostly supported the hypotheses of the study. A model which explained the subjective experience of the theatre audience by the concept of flow was also proposed by taking some unexpected findings into account. The results were discussed within the framework of methodological limitations of the study and alternative explanations together with the implications regarding utilization of artistic products in psychotherapy context.
PDF

___

  • Algina, J., & Olejnik, S. (2003). Sample size tables for correlation analysis with applications in partial correlation and multiple regression analysis. Multivariate Behavioral Research, 38, 309-323. doi: 10.1207/S15327906MBR3803_02
  • Ali, S. O., & Peynircioğlu, Z. F. (2010). Intensity of emotions conveyed and elicited by familiar and unfamiliar music. Music Perception: An Interdisciplinary Journal, 27, 177-182. doi: 10.1525/mp.2010.27.3.177
  • Adams, J. (2013). Gideon’s Knot. New York, NY: Dramatists Play Service.
  • Aronson, E., & Mills, J. (1959). The effect of severity of initiation on liking for a group. Journal of Abnormal and Social Pychology, 59, 177-181. doi: 10.1037/h0047195
  • Baumgarth, C. (2014). “This theatre is a part of me” contrasting brand attitude and brand attachment as drivers of audience behaviour. Arts Marketing: An International Journal, 4, 87-100. doi: 10.1108/AM-01-2014-0007
  • Bakker, A. (2008). The work-related flow inventory: Construction and initial validation of the WOLF. Journal of Vocational Behavior, 72, 400-414. doi: 10.1016/j.jvb.2007.11.007
  • Bakker, A., Golub, T., & Rijavec, M. (2017). Validation of the study-related flow inventory (WOLF-S). Croatian Journal of Education, 19, 147-173. doi: 10.15516/cje.v19i1.2194
  • Bradley, M., & Lang, P. (1994). Measuring emotion: The self-assessment manikin and the semantic differantial. Journal of Behavioral Therapy & Experiential Psychiatry, 25, 49-59. doi: 10.1016/0005-7916(94)90063-9
  • Brehm, J. W. (1999). The intensity of emotion. Personality and Social Psychology Review, 3, 2-22. doi: 10.1207/s15327957pspr0301_1
  • Carver, C. S., Blaney, P. H., & Scheier, M. F. (1979b). Reassertion and giving up: The interactive role of self-directed attention and outcome expectancy. Journal of Personality and Social Psychology, 37, 1859-1870. doi: 10.1037/0022-3514.37.10.1859
  • Carver, C. S., & Scheier, M. F. (1990). Origins and functions of positive and negative affect: A controlprocess view. Psychological Review, 97, 19-35. doi: 10.1037/0033-295X.97.1.19
  • Clore, G. L. (1994). Why emotions require cognition. P. Ekman ve R. J. Davidson (Der.), The nature of emotion: Fundamental questions (s. 181-191) içinde. NY: Oxford University Press.
  • Cohen, J. (1988). Statistical power analysis for the behavioral sciences (2. baskı). Hillsdale, NJ: Lawrence Erlbaum Associates.
  • Csikszentmihalyi, M. (1975). Play and intrinsic rewards. Journal of Humanistic Psychology, 15, 41-63. doi: 10.1177/002216787501500306
  • Csikszentmihalyi, M. (1990). Flow: The psychology of optimal experience. NY: Harper Perennial. Csikszentmihalyi, M. (1997). Finding flow: The psychology of engagement with everyday life. NY: Basic Books.
  • Csikszentmihalyi, M. (2014). Toward a psychology of optimal experience. M. Csikszentmihalyi (Der.), Flow and the foundations of positive psychology: The collected works of Mihalyi
  • Csikszentmihalyi (s. 209-226) içinde. Dordrecht: Springer. Csikszentmihalyi, M., & Asakawa, K. (2016). Universal and cultural dimensions of optimal experiences. Japanese Psychological Research, 58, 4-13. doi:10.1111/jpr.12104
  • Csikszentmihalyi, M., & Figurski, T. J. (1982). Self-awareness and aversive experience in everyday life. Journal of Personality, 50, 15-28. doi: 10.1111/j.1467-6494.1982.tb00742.x
  • Csikszentmihalyi, M., & Hunter, J. (2003). Happiness in everyday life: The uses of experience sampling. Journal of Happiness Studies, 4, 185-199. doi: 10.1023/A:1024409732742
  • Csikszentmihalyi, M., & LeFevre, J. (1989). Optimal experience in work and leisure. Journal of Personality and Social Psychology, 56, 815-822. doi:10.1037/0022-3514.56.5.815
  • Csikszentmihalyi, M., & Moneta, G. B. (1996). The effect of perceived challenges and skills on the quality of subjective experience. Journal of Personality, 64, 275-310. doi: 10.1111/j.1467- 6494.1996.tb00512.x
  • Csikszentmihalyi, M., & Nakamura, J. (1999). Emerging goals and the self-regulation of behavior. C. S. Carver & M. F. Scheier (Der.) Perspectives on Behavioral Self-Regulation: Advances in Social Cognition (Cilt 12, s. 107-118) içinde. Mahwah, NJ: Lawrence Erlbaum Associates.
  • Custodero, L. (1998). Observing flow in young children’s music learning. General Music Today, 12, 21- 27. doi: 10.1177/104837139801200106
  • Custodero, L. (2002). Seeking challange, finding skill: Flow experience and music education. Art Education Policy Review, 103, 3-9. doi: 10.1080/10632910209600288
  • Diener, E., Larsen, R. J., Levine, S., & Emmons, R. A. (1985). Intensity and frequency: Dimensions underlying positive and negative affect. Journal of Personality and Social Psychology, 48, 1253-1265. doi: 10.1037//0022-3514.48.5.1253
  • Duval, S., & Wicklund, R. A. (1972). A theory of objective self-awareness. NY: Academic Press.
  • Festinger, L., & Carlsmith, J. M. (1959). Cognitive consequences of forced compliance. Journal of Abnormal and Social Psychology, 47, 382-389. doi: 10.1037/h0033627
  • Freud, S. (2016). Sanat ve Sanatçılar Üzerine (Çev. Kâmuran Şipal). İstanbul: Yapı Kredi.
  • Hesley, J. W., & Hesley, J. G. (2001). Rent two films and let’s talk in the morning: Using popular moviesin psychotherapy. NY: John Wiley & Sons.
  • Hevner, K. (1936). Experimental studies of the elements of expression in music. American Journal of Psychology, 48, 246-268. doi: 10.2307/1415746
  • Jackson, S., & Marsh, H. (1996). Development and validation of a scale to measure experience: The flow state scale. Journal of Sport & Exercise Psychology, 18, 17-35. doi: 10.1123/jsep.18.1.17
  • Jung, C. G. (2017). Ruh: İnsan, sanat, edebiyat (Çev. İsmail Hakkı Yılmaz). İstanbul: Pinhan.
  • Kreutz, G., Ott, U., Teichmann, D., Osawa, P., & Vaitl, D. (2008). Using music to induce emotions: Influences of musical preference and absorption. Psychology of Music, 36, 101-126. doi: 10.1177/0305735607082623
  • Lampropoulos, G. K., Kazantzis, N., & Deane, F. P. (2004). Psychologists’ use of motion pictures in clinical practice. Professional Psychology: Research and Practice, 35, 535-541. doi: 10.1037/0735-7028.35.5.535
  • Larson, R., & Csikszentmihalyi, M. (1987). Validity and reliability of the experience sampling method. Journal of Nervous and Mental Disease, 175, 526-536. doi: 10.1097/00005053-198709000- 00004
  • Lenkowsky, R. S. (1987). Bibliotherapy: A review and analysis of the literature. Journal of Special Education, 21, 123-132. doi: 10.1177/002246698702100211
  • Lorr, M., McNair, D., & Fisher, S. (1982). Evidence for bipolar mood states. Journal of Personality Assessment, 46, 432-436. doi: 10.1207/s15327752jpa4604_16
  • Martin, J. J., & Cutler, K. (2002). An exploratory study of flow and motivation in theater actors. Journal of Applied Sport Psychology, 14, 344-352. doi: 10.1080/10413200290103608
  • Maslow, A. (1974). Creativity in self-actualizing people. T. M. Covin (Der.), Readings in human development: A humanistic approach (s. 106-117) içinde. NY: MSS Information Corporation.
  • Massimini, F., Csikszentmihalyi, M., & Carl, M. (1987). The monitoring of optimal experience: A tool for psychiatric rehabilitation. Journal of Nervous and Mental Disease, 175, 545-549. doi: 10.1097/00005053-198709000-00006
  • Moneta, G. (2012). Opportunity for creativity in the job as a moderator of the relation between trait intrinsic motivation and flow in work. Motivation and Emotion, 36, 491-503. doi: 10.1007/s11031-012-9278-5
  • Moneta, G., & Csikszentmihalyi, M. (1996). The effect of perceived challenges and skills on the quality of subjective experience. Journal of Personality, 64, 275-310. doi: 10.1111/1467- 6494.ep9606164110
  • Nakamura, J., & Csikszentmihalyi, M. (2014). The concept of flow. M. Csikszentmihalyi (Der.), Flow and the foundations of positive psychology: The collected works of Mihalyi Csikszentmihalyi (s. 239-263) içinde. Dordrecht: Springer.
  • Newton, A. K. (1995). Silver screens and silver linings: Using theater to explore feelings and issues. Gifted Child Today, 18, 14-43. doi: 10.1177/107621759501800206
  • Radbourne, J., Johanson, K., Glow, H., & White, T. (2009). The audience experience: Measuring quality in the performing arts. International Journal of Arts Management, 11, 16-29. http://www.jstor.org/stable/41064995 adresinden alınmıştır.
  • Reason, M. (2010). Asking the audience: audience research and the experience of theatre. About Performance, 10, 15-34.
  • Rheinberg, F. (2008). Flow: Performance and moderators of challange-skill balance. Motivation and Emotion, 32, 158-172. doi: 10.1007/s11031-008-9102-4
  • Saldaña, J. (1995). “Is theatre necessary?”: Final exit interviews with sixth grade participants from the ASU longitudinal study. Youth Theatre Journal, 9, 14-30. doi: 10.1080/08929092.1995.10012462
  • Schimmack, U., & Diener, E. (1997). Affect intensity: Seperating intensity and frequency in repedately measured affect. Journal of Personality and Social Psychology, 73, 1313-1329. doi:10.1037/0022-3514.73.6.1313
  • Sharp, C., Smith, J. V., & Cole, A. (2002). Cinematherapy: Metaphorically promoting therapeutic change. Counselling Psychology Quarterly, 15, 269-276. doi: 10.1080/09515070210140221
  • Tellegen, A., & Atkinson, G. (1974). Openness to absorbing and self-altering experiences (“absorption”), a trait related to hypnotic susceptibility. Journal of Abnormal Psychology, 83, 268-277. doi: 10.1037/h0036681
  • Thompson, B., & Daniel, L. G. (1996). Factor analytic evidence for the construct validity of scores: A historical overview and some guidelines. Educational and Psychological Measurement, 56, 197-208. doi: 10.1177/0013164496056002001
  • Trayes, J., Harré, N., & Overall, N. C. (2012). A youth performing arts experience: Psychological experiences, recollections, and the desire to do it again. Journal of Adolescent Research, 27, 155-182. doi: 10.1177/0743558411417867
  • Vygotsky, L. S. (1971). The psychology of art. MA: M.I.T. Press.
  • Walker, C. (2010). Experiencing flow: Is doing it together better than doing it alone? Journal of Positive Psychology, 5, 3-11. doi: 10.1080/17439760903271116
  • Walmsley, B. (2011). Why people go to the theatre: a qualitative study of audience motivation. Journal of Customer Behaviour, 10, 335-351. doi: 10.1362/147539211X13210329822545
  • Watson, D., & Clark, L. A. (1999). The PANAS-X: Manual for the positive and negative affect schedule – expanded form. IA: Iowa State University.
  • Wedding, D., & Niemiec, R. M. (2003). The clinical use of films in psychotherapy. Journal of Clinical Psychology, 59, 207-215. doi: 10.1002/jclp.10142
  • Willcox, G. (1982). The feeling wheel: A tool for expanding awareness of emotions and increasing spontaneity and intimacy. Transactional Analysis Journal, 12, 274-276. doi: 10.1177/036215378201200411
  • Zuckerman, M., Lubin, B., & Rinck, M. (1983). Construction of new scales for the multiple affect adjective checklist. Journal of Behavioral Assessment, 5, 119-129. doi: 10.1007/BF01321444
AYNA Klinik Psikoloji Dergisi-Cover
  • ISSN: 2148-4376
  • Yayın Aralığı: Yılda 3 Sayı
  • Başlangıç: 2014
  • Yayıncı: ODTÜ Psikoloji Bölümü
Arşiv
Sayıdaki Diğer Makaleler

Nesne İlişkileri Kuramı Çerçevesinden Sınır (Borderline) Kişilik Örüntüsüne Bakış: Vaka Örneği ile Temel Savunma Mekanizmalarının Yorumlanması

Cansu AKYÜZ

Panik Bozuklukta Bilişsel Davranışçı Terapi: Bir Olgu Sunumu

Kuntay ARCAN, Nida ATEŞ

Projektif Yöntem Olarak Rorschach Testi ile Psikozun İncelenmesi

Kübra Göçer

Tiyatro İzleyicisinin Akış Deneyimi: Duygudurumların Çeşitliliği, Yoğunluğu ve Değerliği Hipotezlerinin Sınanması

Kürşad DEMİRUTKU, Derya AĞAOĞLU