In the context of realistic acting approach, J. Baudrillard's theory of 'Hyper-Reality' and examination of being other in acting: "The Blade's Edge" documentary film

Acting, as an art, has connected us to the real from the beginning till now. In the changing and evolving world, when it comes to debate what the reality is and what should be the limits of the reality, as a result of these discussions, acting has been observed that various paradoxes have been experienced in reflecting the changing reality with the motto of being convincing. In acting art, the aktör is actively connected to the reality in re-creation process. The sub-ject-object relation in creation of art manifests it self in the form of subject and subject. For this reason, since the object of the actor is actor's himself, he uses his own reality as the starting point in this reality spiral. Actor, independent of the subject, transforms into the other in hyperreal way-, in this system which the reality is questioned and shows dif-ferences up to the era. Realistic acting that has begun to systematized with Stanislavski, today, since the dead ends of reality are still the subject of discussion, becomes dynamic. In this change, it has been observed that while the actor is performing he entered a hyper-real state by using his own reality as a way out. During or after the performance, with the reality the actor crea-ted, he could neither be himself nor be a role reality. He continued his life existence as the other on the level of hyper-reality he had created. In this research, the relationship between play and reality in the context of J. Baudrillard's Hyper-reality theory of paradoxes in acting will be examined in detail with examples.