The main subject of the thesis is &ldquo / interpretation&rdquo / and &ldquo / presentation&rdquo / of cultural and natural heritage sites which is an important phenomenon providing sustainability and protection of the heritage sites. Interpretation and conservation are tightly associated to each other. Individuals will learn more about the heritage site by the help of interpretation and as a result of understanding / they will have an intention to protect the historic site more / and protection will ensure continuity of the site. Interpretation and presentation of heritage sites is put into the words in Turkish Legislation by the definition of &ldquo / Environmental Design Project&rdquo / in `Amendment Act No. 5226 Concerning to Revision of Legislation Called as Law Concerning to Conservation of Natural and Cultural Entities` in 2004. In the legislation, it is stated that Environmental Design Projects which propose strategies for effective presentation, control visitor use, provide promotion and advertisement, solve problems emerged as a result of current use and circulation and answer the needs of historic sites by contemporary tools and methods must be prepared for each heritage site in Turkey. Therefore, the aim of this thesis is to define principles for effective interpretation and presentation on the selected case according to analysis and evaluations and then propose brand new comprehensive and complementary Environmental Design Project. The case selected in the thesis for the proposition of Environmental Design Project is G&ouml / reme Open Air Museum &ndash / GOAM in Cappadocia which is Turkey&rsquo / s third most visited open air museum after Ephesus in Izmir and Hierapolis in Denizli. The two main reasons for the selection of GOAM are absence of comprehensive and complementary Environmental Design Project in GOAM and insufficiency of current interpretive facilities and visitor services presented in the museum as indicated in the decisions of Nevsehir Regional Council for Conservation of Cultural Entities. Focusing on the aim, thesis is structured in three parts which are interconnected to each other as the theoretical background of the interpretation and presentation in the world and in Turkish legislations, analysis and evaluation of the selected case and finally preliminary decisions and project proposal. To conclude, &ldquo / Environmental Design Project&rdquo / is an important tool for understanding the significance of the museum and providing easygoing and enjoyable visit for the museum visitors according to the values, problems and potentials of GOAM. In that respect, proposing environmental design project is critical in order to satisfy visitor needs during their museum visit and provide safeguarding of GOAM.

Folklife scholars often produce work which is valuable to outdoor museums and historic sites. Folklife scholars deal with functional, contextual, emic, and interdisciplinary studies--all approaches which produce valuable interpretive data for museums and sites. This thesis is an example of folklife work designed for use in the museum field. Outdoor museums and historic sites are increasingly involved with the interpretation of social and emotional life. Because it is a social and emotional event, dance can be a valuable part of this interpretation. Sites and museums developing programs of traditional dance interpretation may find it helpful to follow several steps: 1.) determine through research that dance did occur at the site and time period portrayed; 2.) identify the interpretive themes and objectives dance can fulfill; 3.) gather as much information about the site's dance traditions as possible through research employing a wide variety of sources; 4.) learn to perform the dances, identify their interpretive significance, and incorporate them in interpretive programs. The text includes both descriptions and examples of a wide variety of research sources--primary, secondary, iconographic, material culture, and others. Also included is a checklist of aspects of dance events any or all of which staff members may wish to research and interpret. The closing "Sources and Resources" section is an annotated guide to books, periodicals, organizations, and other sources of assistance in dance interpretation.

This thesis explores the symmetry between theatres and museums, and investigates how a museum experience is similar to a theatrical event. Particularly, this project examines how the Canadian War Museum performs historical narrative through its use of three performative elements of a theatre production: space, objects and actor’s body. Firstly, this thesis analyses how creating a historical narrative is similar to fiction writing and play writing. It follows the argument of Hayden White and Michel de Certeau who recognize a historical narrative as a performative act. Accordingly, this thesis examines the First World War exhibit at the Canadian War Museum as a space of performance. I apply Lubomír Doležel’s literary theory on possible worlds, illustrating how a museum space can create unique characteristics of a possible world of fiction and of history. Secondly, this thesis employs Marie-Laure Ryan’s theory of narrativity to discuss how museum objects construct and perform their stories. I argue that the objects in museums are presented to the public in a state of museality similar to the condition of theatricality in a theatre performance. Lastly, this thesis investigates the performance of people by applying various theories of performance, such as Michael Kirby’s non-acting/acting continuum, Jiří Veltruský’s concept of the stage figure, and Freddie Rokem’s theories of actors as “hyper-historians.” In this way, this thesis explores concrete case studies of employee/visitor interactions and expands on how these communications transform the people within the walls of the museum into performers of historical narrative. Moreover, according to Antoine Prost, the museum as an institution is an educational and cultural authority. As a result, in all of these performative situations, the Canadian War Museum presents a historical narrative to its visitors with which it can help shape a sense of national identity, the events Canadians choose to commemorate and their personal and/or collective memories. In its interdisciplinary scope, this thesis calls upon theories from a variety of academic fields, such as performance studies, history and cultural studies, museology, and literary studies. Most importantly, however, this project offers a new perspective on the performative potentials of a national history museum.

This thesis explores the symmetry between theatres and museums, and investigates how a museum experience is similar to a theatrical event. Particularly, this project examines how the Canadian War Museum performs historical narrative through its use of three performative elements of a theatre production: space, objects and actor’s body. Firstly, this thesis analyses how creating a historical narrative is similar to fiction writing and play writing. It follows the argument of Hayden White and Michel de Certeau who recognize a historical narrative as a performative act. Accordingly, this thesis examines the First World War exhibit at the Canadian War Museum as a space of performance. I apply Lubomír Doležel’s literary theory on possible worlds, illustrating how a museum space can create unique characteristics of a possible world of fiction and of history. Secondly, this thesis employs Marie-Laure Ryan’s theory of narrativity to discuss how museum objects construct and perform their stories. I argue that the objects in museums are presented to the public in a state of museality similar to the condition of theatricality in a theatre performance. Lastly, this thesis investigates the performance of people by applying various theories of performance, such as Michael Kirby’s non-acting/acting continuum, Jiří Veltruský’s concept of the stage figure, and Freddie Rokem’s theories of actors as “hyper-historians.” In this way, this thesis explores concrete case studies of employee/visitor interactions and expands on how these communications transform the people within the walls of the museum into performers of historical narrative. Moreover, according to Antoine Prost, the museum as an institution is an educational and cultural authority. As a result, in all of these performative situations, the Canadian War Museum presents a historical narrative to its visitors with which it can help shape a sense of national identity, the events Canadians choose to commemorate and their personal and/or collective memories. In its interdisciplinary scope, this thesis calls upon theories from a variety of academic fields, such as performance studies, history and cultural studies, museology, and literary studies. Most importantly, however, this project offers a new perspective on the performative potentials of a national history museum.

This thesis explores the symmetry between theatres and museums, and investigates how a museum experience is similar to a theatrical event. Particularly, this project examines how the Canadian War Museum performs historical narrative through its use of three performative elements of a theatre production: space, objects and actor’s body. Firstly, this thesis analyses how creating a historical narrative is similar to fiction writing and play writing. It follows the argument of Hayden White and Michel de Certeau who recognize a historical narrative as a performative act. Accordingly, this thesis examines the First World War exhibit at the Canadian War Museum as a space of performance. I apply Lubomír Doležel’s literary theory on possible worlds, illustrating how a museum space can create unique characteristics of a possible world of fiction and of history. Secondly, this thesis employs Marie-Laure Ryan’s theory of narrativity to discuss how museum objects construct and perform their stories. I argue that the objects in museums are presented to the public in a state of museality similar to the condition of theatricality in a theatre performance. Lastly, this thesis investigates the performance of people by applying various theories of performance, such as Michael Kirby’s non-acting/acting continuum, Jiří Veltruský’s concept of the stage figure, and Freddie Rokem’s theories of actors as “hyper-historians.” In this way, this thesis explores concrete case studies of employee/visitor interactions and expands on how these communications transform the people within the walls of the museum into performers of historical narrative. Moreover, according to Antoine Prost, the museum as an institution is an educational and cultural authority. As a result, in all of these performative situations, the Canadian War Museum presents a historical narrative to its visitors with which it can help shape a sense of national identity, the events Canadians choose to commemorate and their personal and/or collective memories. In its interdisciplinary scope, this thesis calls upon theories from a variety of academic fields, such as performance studies, history and cultural studies, museology, and literary studies. Most importantly, however, this project offers a new perspective on the performative potentials of a national history museum.

This thesis explores the symmetry between theatres and museums, and investigates how a museum experience is similar to a theatrical event. Particularly, this project examines how the Canadian War Museum performs historical narrative through its use of three performative elements of a theatre production: space, objects and actor’s body. Firstly, this thesis analyses how creating a historical narrative is similar to fiction writing and play writing. It follows the argument of Hayden White and Michel de Certeau who recognize a historical narrative as a performative act. Accordingly, this thesis examines the First World War exhibit at the Canadian War Museum as a space of performance. I apply Lubomír Doležel’s literary theory on possible worlds, illustrating how a museum space can create unique characteristics of a possible world of fiction and of history. Secondly, this thesis employs Marie-Laure Ryan’s theory of narrativity to discuss how museum objects construct and perform their stories. I argue that the objects in museums are presented to the public in a state of museality similar to the condition of theatricality in a theatre performance. Lastly, this thesis investigates the performance of people by applying various theories of performance, such as Michael Kirby’s non-acting/acting continuum, Jiří Veltruský’s concept of the stage figure, and Freddie Rokem’s theories of actors as “hyper-historians.” In this way, this thesis explores concrete case studies of employee/visitor interactions and expands on how these communications transform the people within the walls of the museum into performers of historical narrative. Moreover, according to Antoine Prost, the museum as an institution is an educational and cultural authority. As a result, in all of these performative situations, the Canadian War Museum presents a historical narrative to its visitors with which it can help shape a sense of national identity, the events Canadians choose to commemorate and their personal and/or collective memories. In its interdisciplinary scope, this thesis calls upon theories from a variety of academic fields, such as performance studies, history and cultural studies, museology, and literary studies. Most importantly, however, this project offers a new perspective on the performative potentials of a national history museum.

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