{"id":319,"date":"2025-12-29T23:08:48","date_gmt":"2025-12-29T23:08:48","guid":{"rendered":"https:\/\/atolyer10.com\/?p=319"},"modified":"2025-12-30T21:58:01","modified_gmt":"2025-12-30T21:58:01","slug":"jean-cocteau-pablo-picasso-erik-satie-ayni-sahnede-parade-gecit-toreni-1917","status":"publish","type":"post","link":"https:\/\/atolyer10.com\/?p=319","title":{"rendered":"Jean Cocteau, Pablo Picasso, Erik Satie ayn\u0131 sahnede : Parade (Ge\u00e7it T\u00f6reni, 1917)"},"content":{"rendered":"
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\"2010EG2854
“Ge\u00e7it T\u00f6reni” balesinden y\u00f6netici https:\/\/collections.vam.ac.uk\/item\/O1154900\/parade-diaghilev-ballets-russes-1917-photographic-plate-lachman-harry-b\/<\/a>
Pablo Picasso<\/a> \u2022, 1917,<\/figcaption><\/figure>\n<\/div>\n\n\n

1. D\u00fcnya Sava\u015f\u0131n\u0131n g\u00f6lgesinde Paris cephesinin de etkisiyle sanat\u0131n geleneksel formlar\u0131yla ba\u011flar\u0131n kopmaya ba\u015flad\u0131\u011f\u0131 bir d\u00f6nem 1900’lerin ilk yar\u0131s\u0131 eleneksel sanat fikrinin fiilen \u00e7\u00f6kt\u00fc\u011f\u00fc \u00f6enmli bir e\u015fikti.. Paris’te sanat\u00e7\u0131lar sava\u015f\u0131n deh\u015feti ve politik kar\u0131\u015f\u0131kl\u0131\u011f\u0131 a\u015fmak i\u00e7in avangard deneylere y\u00f6neldiler. Sanat\u0131 temsil etmek i\u00e7in de\u011fil bozmak i\u00e7in kullanmaya ba\u015flad\u0131lar. Bu s\u0131rada Marinetti\u2019nin F\u00fct\u00fcrist Manifestosu (1909) yay\u0131nlanm\u0131\u015f h\u0131z, g\u00fcr\u00fclt\u00fc, makineler ve \u015fehir sanatta \u00f6nem kazanm\u0131\u015ft\u0131. Bu sesler Parade balesinde Satie taraf\u0131ndan klullan\u0131ld\u0131. Ancak f\u00fct\u00fcrizmin y\u00fcceltmesinin aksine sesleri alay ve hicivle birle\u015fti.. G\u00fczellik uyumsuzluklta, \u00e7at\u015fmada, y\u0131k\u0131mda, tekrar arand\u0131. Independent gazetesi \u201cBu B\u00fcy\u00fck Sava\u015f i\u015fte! Ad\u0131 \u00fcst\u00fcnde!\u201d <\/em>diye man\u015fet atm\u0131\u015ft\u0131.* B\u00f6yle bir ortam halk\u0131n i\u00e7inde bilinmezli\u011fin b\u00fct\u00fcn yank\u0131lar\u0131n\u0131 ta\u015f\u0131r. ,Sanat cephesinde de K\u00fcbizm, f\u00fct\u00fcrizm, Dada s\u0131z\u0131nt\u0131lar\u0131, Satie’nin m\u00fczik \u00e7evresinde Ant\u0131-romantizm ve Cocteau gibi disiplinleraras\u0131 sanat ayn\u0131 anda dola\u015f\u0131mdad\u0131r.<\/p>\n\n\n

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\"archivo-11-5-17-10-51-58
jean Cocteau, Pablo Picasso, Eric Satie, Sergei Diaghilev <\/figcaption><\/figure>\n<\/div>\n\n\n

1909’da Sergei Diaghilev ad\u0131nda rus bir sanat simsar\u0131 “Ballets Russes” ad\u0131nda devrimci bir rus balesi toplulu\u011fu kurdu. Diaghilev’in d\u00f6nemin g\u00f6steri sanatlar\u0131na g\u00fcr\u00fclt\u00fcl\u00fc miz\u00fc\u011fin sahnesini ve dekorun dans\u0131 engellemesi gibi radikal kararlar\u0131 kurumsal olarak alabilmeyi m\u00fcnk\u00fcn k\u0131ld\u0131. Parade balesi “Ballets Russes” tolulu\u011fu i\u00e7in Diaghilev taraf\u0131ndan Cocteau’ya sipari\u015f olarak geldi. Tarihi ekip ; Satie m\u00fczikleri, Cocteau’nun metinleri, Picasso’nun kost\u00fcm ve dekorlar\u0131 ve Leadine Massime’nin koreograf\u0131yla kuruldu. Diaghilav’\u0131n temel ilkesi notlara “Beni \u015fa\u015f\u0131rt” olarak d\u00fc\u015fm\u00fc\u015ft\u00fcr “Etonne-moi!” ve bunun ard\u0131ndan Parade’nin bu beklentiyi hakk\u0131yla vermi\u015ftir.<\/p>\n\n\n

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\"2010EG2855
https:\/\/collections.vam.ac.uk\/item\/O1154900\/parade-diaghilev-ballets-russes-1917-photographic-plate-lachman-harry-b\/<\/a><\/figcaption><\/figure>\n<\/div>\n\n
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\"354-1<\/figure>\n<\/div>\n\n\n

\u201cParade\u201dresim, \u015fiir, m\u00fczik ve tiyatro esteti\u011fini birle\u015ftiren ilk k\u00fcbist-dadaist bale olma \u00f6zelli\u011fi ta\u015f\u0131r. Bu bir baledir ama teatral bir pandomimdir. Protesttir. Picasso’nun en yak\u0131n entellekt\u00fcel destek\u00e7ilerinden \u015eair\u00a0Guillaume Apollinaire<\/a>‘ Parade’yi bir t\u00fcr \u201cs\u00fcr-r\u00e9alisme\u201d olarak tan\u0131mlam\u0131\u015f ve S\u00fcrrealizm sanat hareketi olarak ortaya \u00e7\u0131kmas\u0131ndan \u00f6nce terim ortaya \u00e7\u0131km\u0131\u015ft\u0131r. Onlar sanat\u0131n s\u0131n\u0131rlar\u0131n\u0131 y\u0131kmaya geldil!<\/p>\n\n\n

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\"x2jyvia6kpu71<\/figure>\n<\/div>\n\n\n

Jean Cocteau ve Pablo Picasso 1915 y\u0131l\u0131nda tan\u0131\u015f\u0131r. Cocteau Picasso’yu Modernli\u011fin mimar\u0131 olarak \u00f6ver. \u201cPicasso elinde bir me\u015faleyle ilerler; ard\u0131nda, art\u0131k anlad\u0131\u011f\u0131 her \u015feyi yakar.\u201d* Bu ikilinin birli\u011finden resimsel k\u00fcbizmin sahneye ta\u015f\u0131n\u0131r. Cocteau ve Eric satie’nin ise daha duyusal bir ba\u011flar\u0131 vard\u0131r. \u0130kisi de Wagnerci duygusall\u0131\u011fa, y\u00fcksek sanat ciddiyetine, romantik patosa (duygu y\u00fck\u00fc) kar\u015f\u0131d\u0131r. Cocteau, Satie m\u00fczi\u011finin basitli\u011fini, mant\u0131ksal bir estetik olarak g\u00f6r\u00fcr “Satie m\u00fczikteki t\u00fcm ciddiyeti reddetti.” diye ifade eder r\u00f6portaj\u0131nda. Ona g\u00f6re bu basitlik, izleyicinin beklentilerini k\u0131r\u0131yordu. Satie kendi s\u00f6zleriyle yapt\u0131\u011f\u0131 \u201cParade m\u00fczi\u011fini, karakterlerin atmosferini vurgulamak i\u00e7in gerekli olan \u00e7evredeki sesleri vurgulamak amac\u0131yla bir zemin olarak yani yaln\u0131zca belirli seslere altyap\u0131 olarak kullanarak besteledim.\u201d diyor. Bu s\u00f6z\u00fc mizahidir \u00e7\u00fcnk\u00fc Igor Stravinsky Bahar Ayini (Frans\u0131zca: eserinde ritmik devrimini yapm\u0131\u015f , skandal olan m\u00fczik zeminini olu\u015fturmu\u015ftur. Art\u0131k Paris’te bale bile g\u00fczel olmak zorunda de\u011fildir. Picasso iise bu \u00f6l\u00e7\u00fcde b\u00fcy\u00fck kost\u00fcmlerle K\u00fcbizmi tuvalden \u00e7\u0131kar\u0131p mekana ve bedene b\u00fcr\u00fcnd\u00fcrm\u00fc\u015ft\u00fcr Kost\u00fcmlerin i\u00e7inde hareket etmek her ne kadar zor olsa da Leonide Massime’de bunu ama\u00e7layan bir kareograft\u0131. Picasso taraf\u0131ndan yap\u0131lan Massime tablosuna linkten https:\/\/museupicassobcn.cat\/en\/collection\/artwork\/harlequin-leonide-massine<\/a> ula\u015fabilirsiniz.<\/p>\n\n\n

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\"portrait-of-igor-stravinsky-1920.jpgLarge
Pablo Picasso’nun Igor Stravinsky Portresi , 1920 ,https:\/\/www.wikiart.org\/en\/pablo-picasso\/portrait-of-igor-stravinsky-1920<\/a><\/figcaption><\/figure>\n<\/div>\n\n
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\"1-725x1024
Eric Satie, Parade Paralog, 1917 <\/figcaption><\/figure>\n<\/div>\n\n\n

https:\/\/museupicassobcn.cat\/en\/collection\/artwork\/harlequin-leonide-massine<\/a><\/p>\n\n\n\n

https:\/\/ozge.ersu.net\/yazilar\/gezi-yazilari\/birinci-dunya-savasi-ve-etimolojisi\/<\/a><\/p>\n\n\n\n

Jean Cocteau, Var Olman\u0131n Zorlu\u011fu , 1947, Picasso \u00fczerine d\u00fc\u015f\u00fcnceler<\/p>\n\n\n\n

https:\/\/iupress.istanbul.edu.tr\/journal\/art-sanat\/article\/an-artistic-revolution-phenomenon-diaghilevs-ballet-russes?id=697542<\/a><\/p>\n\n\n\n

https:\/\/margaretevangeline.com\/Holey-Space-Catalog-Essay-by-Edward-Lucie-Smith-2010<\/a><\/p>\n\n\n\n

<\/p>\n\n\n\n

https:\/\/pure.royalholloway.ac.uk\/ws\/portalfiles\/portal\/16972577\/CorrectedTHESIS_FORPRINTERS_final.pdf,sf. 75 <\/a><\/p>\n\n\n\n

https:\/\/www.youtube.com\/watch?v=36CM_MUepIM<\/a> Eric Satie’nin m\u00fczi\u011fine buradan ula\u015fabilirsiniz.<\/p>\n\n\n\n

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