History of cinematographic stage in the theater and tools of expression

20th century art faced a radical revolution with the discovery of cinema. Especially the aesthetic tools (cinematography) that affect the representation style of the theater and the aesthetic tools (cinematography) that make up the cinema have created effects supporting theater representation in a very short time and opened the door to a radical transformation. The art of cinema, which initially used the tools of the theater, quickly formed its own language thanks to technological developments. Cinematography, which is the narrative language of the cinema, has elements that diversify the perspective, especially the narrative language of the camera, and increase the traceability of the representation. This thesis study examines the "cinematographic theater" formed after 1990 by examining the interaction of cinema-theater with cinematographic tools. In the first part of the study which consists of three parts; the history of recording, the meaning and means of cinematography and cinematographic thought are studied. In the second part, the relationship between cinema and theater, the birth of cinema, the development of cinematographic tools until 1990 are examined; The usage purposes of the directors were discussed and the tendencies affecting cinematographic theater within the performance art were evaluated. In the last part, "cinematographic theater" works; How and for what purpose directors John Jeserun, Robert Lepage, Katie Mitchell and Jay Scheib used cinematographic tools in representation were examined. In this section, the concept of "mediaturgy", which is a new representational study put forward by Bonnie Maranca, is also evaluated. The aim of this study is to reveal the transformation of cinematographic tools and the concepts they add to the theater, and to lay the groundwork for new discussion areas for directors in 21st century theater performance.