Feminist evaluation of the use of dionesiac body in acting

In women's struggle to become subjects, art, especially feminist art's re-reading of history and artifacts, has enhanced this goal of women becoming subjects. Theater can be seen as a field that allows women to distinguish the forms of political and cultural formation for women's existence and identity, to have rights over their own lives and to end their marginalized position due to gender inequality. Its transformative power in social, cultural and economic life has been analyzed. Guided by this examination, it will be investigated whether it is possible for the dionysiac body as a ritual theater element to be used by the actor and to be liberated in her acting and body and to be present only as an actor person. The image of women in nature, the effect of the feminine and masculine on the reading of society and its research with the "dionysiac" one, which is related to nature, will be investigated. The phenomena that we no longer see and personalize because we take them for granted will be questioned from a different perspective. In the light of these facts and researches, the use of the dionysiac ecstatic body in acting will be investigated through feminist theory by exemplifying the reflections on the actor's body. Feminist theater emerged from the belief that theater history should be re-examined from a feminist perspective. Taking this emphasis, which is the reason for the existence of feminist theater, as a starting point, ritual theater elements will be questioned again from a different perspective in the light of research and theories about the ecstatic body and the perception of the female body. Keywords: Feminist Theory, Ancient Greece, Dionysus, Dionysiac Body, Theater