Acting in Turkish cinema

The purpose of this study is to analyze if there are the elements thosedetermine the nature of acting by examining the acting within the movies shotbetween 1960 and 1970, which is the determinant period of Turkish Cinemain terms of acting, by means of a model derived from Stanislavski?s ?System?and Strasberg?s ?Method? acting techniques.In our study, we have carried out the cinema acting analysis in TurkishCinema for the first time by means of a model called ?the Nature of Acting?,which was created by considering the realistic acting theory of Stanislavskiknown as ?System? and the arrangement of this theory that is adapted tocinema. In this study, in which we assume that within the period between1960 and 1970, an overdone and affected acting perception was dominant inTurkish cinema; the realistic acting perception was also tried consciously;and the peculiar expression elements of cinema language in the analysis andevaluation of cinema acting should be taken into account in thecomprehensibility of acting, we have examined the acting of four female staractresses (Filiz Akın, Fatma Girik, Türkan Şoray, and Hülya Koçyiğit) in thesages of first meeting and the declaration of love / affection and the mannerof acting of the same male actor (Göksel Arsoy), who performed in fourseparate movies with the four female star actresses, with different partners indifferent roles by performing an analysis in the melodrama movies shot withinthe period in question and studied the dominant acting perception of thesemovies on the basis of an acting theory.As a result of the analyses performed on the basis of Stanislavski?s?System? and Strasberg?s ?Method? acting techniques, we have come to theconclusion that the overdone and affected acting perception of TurkishCinema does not only stem from acting, but also it is directly connected tothe failure to set up a firm dramatic structure in script, sound recording, thestar system in the melodrama movies between 1960 and 1970, and the useof the cinema language adopted by the directors.According the analysis results of our study, we see that despite thefour female stars and the male star display an acting that is in accordancewith the nature of acting in their first meeting and the declaration of love /affection stages, the reality, persuasiveness, and comprehensibility of theiracting fail due to the problems in their own acting and in cinematicexpression. In addition, we see that Göksel Arsoy, according to his actinganalysis, can display different acting in different roles by playing four differentcharacters with the four female stars (Filiz Akın, Fatma Girik, Türkan Şoray,and Hülya Koçyiğit).Besides, our analyses show that it is possible to analyze the cinemaacting on the basis of an acting theory and that the realistic perceptionadapted by the acting theory in question can be valid for cinema acting aswell.