Reconstruction of design movements in theatre and Barış Dinçel theatre plays

The aim of this study is to examine the role of stage design in the development of Turkish theatre and the design movements in Barış Dinçel's plays. By addressing the strong relationship between theatre and design, it aims to investigate the contribution of design to the process of creating meaning in theatre and to reveal the effects of design movements on the stage. It will also assess how the combination of design and theatre deepens the audience's understanding of the theme, character development and aesthetic aspects of the play. The study also aims to highlight the importance of designers who play an important role in the creative development of Turkish theatre by examining Barış Dinçel's understanding of design and the design movements he used. The results show that stage design is a tool that reinforces the narrative in theatre. It brings the theme and the characters to the fore. The design movements used in theatre, especially in period pieces, allow space and time to be accurately conveyed to the audience. In Tartuffe, for example, Gothic, Baroque and Rococo movements were used as elements to symbolise the religious and aristocratic structure of the period. In the play Departure and Return to Moscow (Retro), Art Nouveau aesthetics enabled the characters and their social structure to be presented more effectively to the audience. Barış Dinçel's designs often use movements such as Art Nouveau and Art Deco, as well as movements such as Cubism, in which time and space are treated in an abstract way. These movements used set design not only as a visual tool but also as an element to enhance the power of the narrative. The results show that design movements play an important role in theatre plays and that stage design is the first communication between the audience and the play. Barış Dinçel's understanding of design shows how theatre and stage design work together and how they enable the text, characters and dramatic structure to exist on stage in a stronger way. The study emphasises that design creates an aesthetic and concrete language in the theatre and that this language facilitates the audience's involvement in the world of the play. It also states that design movements create an integrity in harmony with the theme of the play by ensuring that every detail on stage carries symbolic meanings. In conclusion, Barış Dinçel's stage design, as an example of a creative breakthrough in Turkish theatre, provides an inspiring model for future designers. This study is a demonstration of how artistic expression can be strengthened through the combination of theatre and design, and how aesthetic concerns can be conveyed to the audience in a deeper sense.