From energetic body to the performance: Actor's training and a staging NOT B. (NOT Beckett)

In today's theatre, the actor, despite all the promises of emancipation, generally continues to seek external foundations in order to keep his/her stage existence alive in a working environment which is organized by a supervision. Nonetheless, when the actor only gives credence to external data, that actor's life on stage will gradually turn into a lifeless image that repeats itself. There is a creative and free ground on which actors can organize their work before any external data. This ground is the actor him/herself, the energetic body s/he creates in the context of the stage. This study is the outcome of the research that interprets the actor in the center of the theater in his/her relationship with the audience. In this study, the ways of a creation that does not dictate itself and offers free spaces where both the audience and the actor can create their own universes are searched, and the possibilities of an emancipated theatrical event are discussed based on the actor's work. In the working process, the actor's research on his/her own stage tools has been based upon creating the energetic body in the first stage. At this point, a practice design in which the actor can act freely has been made. During the practice phase, a stage repertoire was created through the actor's energetic body, and improvisation process. The repertoire in question was combined with a performance text made with the logic of the void. As a result, the work called NOT B. (Not Beckett) was generated and staged.