An analysis of Stanislavski system on the relationship between game concept and reality in acting

This study is structured to examine the cultural, philosophical and psychological dimensions of the concept of play in the art of theater. A conceptual bridge is built between Johan Huizinga's theory of play developed in his work Homo Ludens and Konstantin Stanislavski's approach to the acting system. While Huizinga's understanding of play offers a field of cultural activity that points to the creative nature of human beings, the system developed by Stanislavski is evaluated as an art practice that transforms this creative process into reality on stage. The study examined in detail the effects of the actor's individual memory, geography, cultural background and social position on the creation process on the stage. It was revealed that the actor is positioned as a subject who constructs meaning on the stage, creates emotional depth and develops an intellectual bond with the audience while performing his/her role. A strong structural similarity was found between Huizinga's magic circle concept and Stanislavski's magic if, emotional memory and inner action principles. As a result of the theoretical analysis through the qualitative methods used in the research, it was emphasized that acting is a multi-layered creation process shaped by technical skills, memory, individual experience and social structure. The believability of the actor's performance has become a fundamental element that affects how the reality established on the stage corresponds to the emotional and mental world of the audience. The evaluations made within the scope of the thesis have revealed that theater constitutes a creative field of action in which the individual reconstructs himself, society and reality and offers an aesthetic form of expression.