{"id":4152,"date":"2010-02-06T10:19:34","date_gmt":"2010-02-06T07:19:34","guid":{"rendered":"http:\/\/localhost\/wordpress\/2010\/02\/06\/muthis-sinema-zekasi-ve-sinir-tanimayan-aktorluk-yetenegi-charlie-chaplin\/"},"modified":"2010-02-06T10:19:34","modified_gmt":"2010-02-06T07:19:34","slug":"muthis-sinema-zekasi-ve-sinir-tanimayan-aktorluk-yetenegi-charlie-chaplin","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2010\/02\/06\/muthis-sinema-zekasi-ve-sinir-tanimayan-aktorluk-yetenegi-charlie-chaplin\/","title":{"rendered":"M\u00fcthi\u015f sinema zekas\u0131 ve s\u0131n\u0131r tan\u0131mayan akt\u00f6rl\u00fck yetene\u011fi | Charlie Chaplin"},"content":{"rendered":"

\"\"\u00dcnl\u00fc sanat\u00e7\u0131 Charlie Chaplin ve \u00fcnl\u00fc bilim adam\u0131 Einstein bulu\u015fuyor. Sohbet s\u0131ras\u0131nda Einstein , Chapline itiraf ediyor: Sizi k\u0131skan\u0131yorum. D\u00fcnyan\u0131n b\u00fct\u00fcn insanlar\u0131 sizin sanat\u0131n\u0131z\u0131 anl\u0131yor ve size hayran.Chaplin itiraz etmiyor: Do\u011fru, ama as\u0131l sizi k\u0131skanmak gerekir; sizi kimse anlamad\u0131\u011f\u0131 halde herkes size hayran, kar\u015f\u0131l\u0131\u011f\u0131n\u0131 veriyor.<\/p>\n

Charlie Chaplin in sessiz sinemaya veda etti\u011fi film olan Modern Zamanlar, kapitalizmin giderek geli\u015fmesiyle birlikte, insan do\u011fas\u0131nda belirmeye ba\u015flayan tektiple\u015fme ve makinele\u015fme unsurlar\u0131n\u0131 \u00e7arp\u0131c\u0131 bir \u015fekilde ortaya koymaktad\u0131r. Bantlarda ve dev makineler aras\u0131nda \u00e7al\u0131\u015fan insanlar\u0131n, sistemin i\u015flemesi ad\u0131na birer makine par\u00e7as\u0131 haline gelmesi, filmin ana temas\u0131n\u0131 olu\u015fturur. \u00dcretim ili\u015fkilerinin toplumsal d\u00fczenin \u015fekillenmesinde belirleyici bir etmen oldu\u011funu g\u00f6zler \u00f6n\u00fcne seren film, \u201cmodern \u00e7a\u011f\u0131n\u201d insan hayat\u0131na ve g\u00fcndelik ya\u015fam\u0131n gereklerine nas\u0131l hakimiyet kurabildi\u011fini t\u00fcm a\u00e7\u0131kl\u0131\u011f\u0131 ile ortaya koyuyor. \u0130\u015fte tam da bunun i\u00e7in hayat\u0131n, bir ba\u015fka deyi\u015fle sistemin idamesi s\u00f6z konusu oldu\u011funda bask\u0131 ka\u00e7\u0131n\u0131lmaz oluyor.<\/p>\n

Modern Zamanlar filminin a\u00e7\u0131l\u0131\u015f sahnesinde g\u00f6rd\u00fc\u011f\u00fcm\u00fcz kocaman bir saat kapitalizmin h\u0131z ve teknoloji kavramlar\u0131na bir g\u00f6nderme yapmaktad\u0131r. Ard\u0131ndan a\u011f\u0131llar\u0131na giden bir koyun s\u00fcr\u00fcs\u00fcn\u00fcn g\u00f6r\u00fclmesi, her g\u00fcn sermayeyi daha da beslemek ad\u0131na bilin\u00e7sizce fabrikaya giden ve bir makine gibi \u00e7al\u0131\u015fan i\u015f\u00e7ileri yans\u0131tmaktad\u0131r. Fabrikan\u0131n genel m\u00fcd\u00fcr\u00fc, George Orwell\u2019\u0131n \u201c1984\u201d adl\u0131 roman\u0131nda yer alan B\u00fcy\u00fck Birader\u2019le \u00f6nemli \u00f6l\u00e7\u00fcde benzerlik g\u00f6stermektedir. Sonu\u00e7ta kapitalizmin kurumlar\u0131 ve onun u\u015faklar\u0131 her yerde ayn\u0131 niteli\u011fi ta\u015f\u0131maktad\u0131r. Daha sonra televizyonunu a\u00e7\u0131p emirler ya\u011fd\u0131ran m\u00fcd\u00fcrden en \u00e7ok nasibini alan da serseri kahraman\u0131m\u0131z \u015earlo\u2019dur. \u015earlo sisteme kanalize olmaya direnen emek\u00e7i halk\u0131n sembol\u00fcd\u00fcr. \u0130\u015f\u00e7ilerin k\u00f6le gibi \u00e7al\u0131\u015ft\u0131\u011f\u0131 ve s\u00fcrekli ayn\u0131 i\u015fi yapt\u0131\u011f\u0131 fabrikada \u015earlo en sonunda akl\u0131n\u0131 ka\u00e7\u0131r\u0131r. Bu d\u00fczen onu fabrikaya, ak\u0131l hastanesine, hapishaneye kapar. Sistem onun \u00f6zg\u00fcrl\u00fc\u011f\u00fcn\u00fc elinden al\u0131r ama umudunu, insanl\u0131\u011f\u0131n\u0131 elinden alamaz. Bu film Charlie Chaplin\u2019in s\u0131n\u0131f m\u00fccadelesini bir\u00e7ok y\u00f6n\u00fcyle inceledi\u011fi ve kapitalizmin kurumlar\u0131yla alay etti\u011fi Chaplin filmlerinin k\u00f6\u015fe ta\u015flar\u0131ndan biridir.<\/p>\n

Charlie Chaplin\u2019in 1940 y\u0131l\u0131nda \u00e7ekti\u011fi B\u00fcy\u00fck Diktat\u00f6r adl\u0131 filmi de Modern Zamanlar gibi bir klasiktir. Film de Alman fa\u015fizmi ve Hitler \u00fczerine keskin ele\u015ftiriler vard\u0131r.1947\u2019de \u00e7ekti\u011fi Monsieur Verdoux filmindeki sap\u0131k kad\u0131n katili rol\u00fcyle Charlie Chaplin hi\u00e7 de al\u0131\u015f\u0131k olmad\u0131\u011f\u0131m\u0131z rollere b\u00fcr\u00fcn\u00fcr. Monsieur Verdaux\u2019daki karakterlerden birinin, hen\u00fcz do\u011fmam\u0131\u015f olanlar\u0131n onlar\u0131 neyin bekledi\u011fini bilmeleri halinde, ya\u015fayanlar\u0131n \u00f6l\u00fclerden ka\u00e7t\u0131\u011f\u0131 gibi do\u011fmaktan ka\u00e7aca\u011f\u0131n\u0131 s\u00f6ylemesi, Chaplin in kapitalizme duydu\u011fu \u00f6fkenin i\u015faretidir. B\u00fcy\u00fck Diktat\u00f6r filmi de yo\u011fun siyasal i\u00e7eri\u011fi ve verdi\u011fi insanc\u0131l mesajlar a\u00e7\u0131s\u0131ndan Charlie Chaplin\u2019in en dikkat \u00e7eken filmlerinden biridir.<\/p>\n

Chaplin\u2019in hareketli ge\u00e7en \u00f6zel hayat\u0131 hakk\u0131nda gazetelerde bir s\u00fcr\u00fc yalan haber bas\u0131ld\u0131, filmleri sans\u00fcrlendi. CIA taraf\u0131ndan takip edildi. Bundan sonra \u00e7ekti\u011fi New York\u2019ta Bir Kral filmiyle Amerikan ya\u015fam tarz\u0131n\u0131, t\u00fcketim k\u00fclt\u00fcr\u00fcn\u00fc ele\u015ftirmeye devam etti. Uzun ve \u00fcretken bir ya\u015fam\u0131n ard\u0131ndan, 1977\u2019de \u0130svi\u00e7re\u2019de \u00f6ld\u00fc.
Onun filmleri hayranl\u0131kla izlenecek cinstendi. M\u00fcthi\u015f sinema zekas\u0131 ve s\u0131n\u0131r tan\u0131mayan akt\u00f6rl\u00fck yetene\u011fi bize koca kal\u0131n kitaplar\u0131n anlatamad\u0131\u011f\u0131n\u0131 bir s\u00fcre sessizli\u011fin diliyle, daha sonra da s\u00f6zc\u00fcklerle ifade etti. Charlie Chaplin\u2019le ilgili anlat\u0131lan bir hikayeye g\u00f6re : \u201cBir g\u00fcn Charlie Chaplin film setinde \u00e7al\u0131\u015fmaktad\u0131r. Soyunma odas\u0131nda otururken i\u00e7eri \u00e7al\u0131\u015fanlar\u0131ndan biri girer ve Chaplin\u2019e annesinin \u00f6ld\u00fc\u011f\u00fcn\u00fc s\u00f6yler. Bunun \u00fczerine Chaplin \u00e7ok k\u00f6t\u00fc olur ve o anda soyunma odas\u0131n\u0131n b\u00fcy\u00fck aynas\u0131na d\u00f6nerek y\u00fcz ifadesine bakar. O anki hissettiklerinin y\u00fcz\u00fcne, g\u00f6zlerine nas\u0131l yans\u0131d\u0131\u011f\u0131n\u0131 arayan bu b\u00fcy\u00fck sanat\u00e7\u0131yla ilgili anlat\u0131lan bu hikaye do\u011fru mudur de\u011fil midir bilmiyoruz ama ger\u00e7ek sanat\u00e7\u0131n\u0131n nas\u0131l oldu\u011fu hakk\u0131nda minicik de olsa bir fikir verir.\u201d
Bu k\u00fc\u00e7\u00fck adam gelecek y\u00fczy\u0131lda da sinema denince akla gelen ilk fig\u00fcr ve an\u0131lan ilk sanat\u00e7\u0131 olma onurunu ta\u015f\u0131yacak. Bu noktada Charlie Chaplin\u2019i kapitalizmin ele\u015ftirisine yapt\u0131\u011f\u0131 katk\u0131lar\u0131 da g\u00f6z ard\u0131 etmeden B\u00fcy\u00fck Diktat\u00f6r filminde ki final konu\u015fmas\u0131yla an\u0131yoruz:<\/p>\n

\u201cBeni duyma olana\u011f\u0131 bulanlara diyorum ki: Umutsuzlu\u011fa d\u00fc\u015fmeyin! \u00dcst\u00fcm\u00fcze \u00e7\u00f6ken bela, vah\u015fi bir istihan\u0131n ve insanl\u0131\u011f\u0131n geli\u015fmesinden korkanlar\u0131n duyduklar\u0131 ac\u0131lar\u0131n bir sonucudur sadece…\u201d<\/p>\n

\u201c\u0130nsanl\u0131\u011f\u0131n kini ge\u00e7ecek, diktat\u00f6rler yok olup gidecektir. Halktan zorla ald\u0131klar\u0131 iktidar yine halk\u0131n eline ge\u00e7ecektir. Ve insanlar \u00f6lmeyi bildikleri s\u00fcrece, \u00f6zg\u00fcrl\u00fck yok olmayacakt\u0131r…\u201d<\/p>\n

\u201cAskerler, bu vah\u015fi adamlara adamay\u0131n kendinizi… Sizi hor g\u00f6r\u00fcyor, size k\u00f6le g\u00f6z\u00fcyle bak\u0131yor, hayat\u0131n\u0131zla oynuyorlar. Davran\u0131\u015flar\u0131n\u0131za, d\u00fc\u015f\u00fcncelerinize, duygular\u0131n\u0131za h\u00fckmetmeye kalk\u0131yorlar…\u201d<\/p>\n

\u201cSizi hayvan terbiye eder gibi \u015fartland\u0131r\u0131p, a\u00e7 b\u0131rak\u0131p topun a\u011fz\u0131na s\u00fcr\u00fcyorlar. Do\u011faya ayk\u0131r\u0131 olan bu adamlara teslim etmeyin kendinizi. Bu makine gibi duygusuz, makinele\u015fmi\u015f adamlara! Sizler birer hayvan de\u011filsiniz!\u201d
\u201cY\u00fcre\u011finizde insan sevgisi ta\u015f\u0131yorsunuz! Nefrete kap\u0131lmay\u0131n. Ancak sevilmeyen ki\u015filer nefret eder. Sevilmeyenler ve anormal olanlar… Askerler, k\u00f6lelik u\u011fruna d\u00f6v\u00fc\u015fmeyin. \u00d6zg\u00fcrl\u00fck i\u00e7in d\u00f6v\u00fc\u015f\u00fcn!\u201d<\/p>\n

“Kamera arkas\u0131na ge\u00e7en herkes, bir insan y\u00fcz\u00fc \u00e7ekebilir. Bense oyunculu\u011fa d\u00fc\u015fk\u00fcn\u00fcm, kameran\u0131n oyuncudan rol \u00e7almas\u0131n\u0131 istemem. Hem kamera \u00e7al\u0131\u015f\u0131rken d\u00fc\u015f\u00fcnmeye fazla zaman\u0131n\u0131z yoktur. Do\u011fall\u0131k, komedinin en b\u00fcy\u00fck \u015fart\u0131d\u0131r. Ben realizme kay\u0131ts\u0131z \u015farts\u0131z inan\u0131yorum. Komedi ger\u00e7ek ve hayata uygun olmal\u0131d\u0131r. Ger\u00e7ek \u015feyler insanlara, grotesk kurgulardan \u00e7ok daha fazla hitap eder. \u0130\u015fte bu y\u00fczden, benim komedim ger\u00e7ek hayatt\u0131r. Bir filme ba\u015flad\u0131\u011f\u0131mda, olay \u00f6rg\u00fcs\u00fcn\u00fc zihnimde ta\u015f\u0131sam bile kameran\u0131n \u00f6n\u00fcne nas\u0131l hareket edece\u011fime dair en ufak bir fikir olu\u015fturmadan \u00e7\u0131kar\u0131m. Kendi kendime “ben, canland\u0131rd\u0131\u011f\u0131m karakterim” diye telkinde bulunurum. Do\u011fa\u00e7lama oyunculuk ger\u00e7e\u011fi onda dokuz tutturur, \u00e7al\u0131\u015f\u0131lm\u0131\u015f oyunculuksa ayn\u0131 oranda \u0131skalar…”<\/p>\n

Biyografi<\/strong><\/p>\n

Charlie Chaplin (d. 16 Nisan 1889 – 25 Aral\u0131k 1977), \u0130ngiliz sinema y\u00f6netmeni, oyuncu ve yazar. As\u0131l ad\u0131 Charles Spencer Chaplin olmakla beraber, yaratt\u0131\u011f\u0131 “\u015earlo” (Charlot) karakteri ile \u00f6zde\u015fle\u015fti ve \u00f6yle an\u0131ld\u0131.<\/p>\n

Londra’n\u0131n fakir b\u00f6lgelerinden birinde do\u011fup b\u00fcy\u00fcyen Chaplin, 1913′ te gitti\u011fi ABD’de sinemaya ba\u015flam\u0131\u015ft\u0131. 1914’teki ilk filmi Making A Living ‘in ard\u0131ndan \u00e7ekilen Kid Auto Races in Venice filminde bol pantolonlu, melon \u015fapkal\u0131, b\u00fcy\u00fck ayakkab\u0131l\u0131, s\u00fcrekli bastonunu \u00e7eviren ve sakar hareketleri ile g\u00fcl\u00fcn\u00e7 mizansenler olu\u015fturan “\u015earlo” tiplemesini yaratt\u0131. Takip eden y\u0131llar i\u00e7inde aralar\u0131nda The Immigrant (1917), The Adventurer (1917) gibi \u00fcnl\u00fc filmlerinin de bulundu\u011fu altm\u0131\u015ftan fazla k\u0131sa filmde oynayarak yeni geli\u015fmekte olan sineman\u0131n da etkisiyle d\u00fcnya \u00e7ap\u0131nda g\u00f6r\u00fclmemi\u015f bir \u00fcne kavu\u015ftu. 1918 y\u0131l\u0131nda \u00e7ekti\u011fi A Dog’s Life filmi ile uzun metrajl\u0131 filmlere de ba\u015flayan Chaplin, Mary Pickford, Douglas Fairbanks ve D. W. Griffith ile birlikte kurduklar\u0131 United Artists film \u015firketinin orta\u011f\u0131 olduktan sonra Alt\u0131na H\u00fccum, \u015eehir I\u015f\u0131klar\u0131, B\u00fcy\u00fck Diktat\u00f6r, Asri Zamanlar, Sirk ve Sahne I\u015f\u0131klar\u0131 gibi ba\u015fyap\u0131tlara imza att\u0131.<\/p>\n

Filmlerinde d\u00f6nem ko\u015fullar\u0131 i\u00e7in imk\u00e2ns\u0131z g\u00f6r\u00fclebilen mizansenlere, koreografilere ve akrobatik hareketlere yer veren Chaplin, komedi sinemas\u0131n\u0131n b\u00fct\u00fcn \u00f6rneklerini sonuna kadar korumakla birlikte, heyecan\u0131n ve hareketin asgari d\u00fczeye \u00e7ekildi\u011fi sahnelerinde ise dramatik yap\u0131s\u0131n\u0131 sergileyebilmi\u015ftir. Pop\u00fclist yakla\u015f\u0131mlara, hi\u00e7bir zaman benimsemedi\u011fi baz\u0131 y\u00f6netim bi\u00e7imlerine ve teknolojiye y\u00f6nelik a\u011f\u0131r ele\u015ftirilerini ise yine bu komedi tarz\u0131n\u0131n i\u00e7inde eritmi\u015f ve sessizce seyirciye ula\u015ft\u0131rmay\u0131 bilmi\u015ftir.<\/p>\n

Yaratt\u0131\u011f\u0131 ‘modern palya\u00e7o’ \u015earlo ile d\u00fcnya \u00fczerinde filmlerinin g\u00f6sterildi\u011fi her \u00fclkede insanlar\u0131n hayranl\u0131\u011f\u0131n\u0131 toplamas\u0131na ra\u011fmen, Amerika Birle\u015fik Devletleri vatanda\u015fl\u0131\u011f\u0131n\u0131 reddetmesi sebebiyle bu \u00fclkede kendisine y\u00f6nelik olarak ba\u015flat\u0131lan karalama kampanyas\u0131; kendisinden bir hayli gen\u00e7 olan kad\u0131nlarla yapt\u0131\u011f\u0131 d\u00f6rt ayr\u0131 evlilik, bir d\u00f6nem kendisine a\u00e7\u0131lan babal\u0131k davas\u0131, The Immigrant filminde bir ABD memurunu tekmeledi\u011fi sahne ve son olarak Alt\u0131na H\u00fccum filmindeki baz\u0131 sahnelerin kom\u00fcnizm propagandas\u0131 olarak yorumlanmas\u0131 gibi olaylar\u0131n etkisiyle s\u00f6zde bir ba\u015far\u0131ya ula\u015ft\u0131 ve Chaplin’in ABD’ye girmesi yasakland\u0131. Bunun \u00fczerine kar\u0131s\u0131 ve \u00e7ocuklar\u0131yla birlikte hayat\u0131n\u0131n sonuna kadar ya\u015fayaca\u011f\u0131 \u0130svi\u00e7re’ye yerle\u015fen Chaplin, ancak 1972 y\u0131l\u0131nda Oskar \u00d6zel \u00d6d\u00fcl\u00fc’n\u00fc almak i\u00e7in y\u0131llar sonra ABD’ye geri d\u00f6nd\u00fc. Takip eden y\u0131lda City Lights adl\u0131 filme bir kez daha Oscar \u00f6d\u00fcl\u00fcn\u00fc kazanm\u0131\u015ft\u0131r. 1975 y\u0131l\u0131nda 86 ya\u015f\u0131nda iken \u0130ngiltere Krali\u00e7esi II. Elizabeth taraf\u0131ndan \u015f\u00f6valye unvan\u0131na lay\u0131k g\u00f6r\u00fclm\u00fc\u015ft\u00fcr.<\/p>\n

\u0130lk Y\u0131llar\u0131<\/strong><\/p>\n

Charles Chaplin(\u015earlo), 16 Nisan 1889’da Londra’n\u0131n fakir semtlerinden biri olan East Lane, Walworth’ ta do\u011fdu. Charlie’nin hen\u00fcz o \u00fc\u00e7 ya\u015f\u0131na bile gelmeden ayr\u0131lan annesi ve babas\u0131 m\u00fczikhollerde ve \u00e7e\u015fitli tiyatrolarda \u00e7al\u0131\u015fan profesyonel sanat\u00e7\u0131lard\u0131.Sahne ad\u0131 Lily Harley olan annesi Hannah Harriet Pedlingham Hill (1865-1928) profesyonel olarak ilk sahneye \u00e7\u0131k\u0131\u015f\u0131n\u0131 19 ya\u015f\u0131nda yapm\u0131\u015ft\u0131. Annesi ve -ba\u015fka babadan do\u011fma- karde\u015fi Sydney Chaplin ile birlikte Londra’n\u0131n fakir semtlerinde \u00e7e\u015fitli evlerde b\u00fcy\u00fcyen Chaplin’ in ya\u015fam\u0131, ruhsal dengesizlikler ya\u015fayan annesinin durumunun k\u00f6t\u00fcye gitmesi ile zorla\u015ft\u0131. Anne Hannah, 1894’teki bir sahne performans\u0131 s\u0131ras\u0131nda sesini kaybetmi\u015f ve hemen ard\u0131ndan ya\u015fad\u0131\u011f\u0131 ekonomik zorluklar\u0131n da etkisiyle psikolojik sorunlar\u0131 h\u0131z kazanm\u0131\u015ft\u0131. Onun bir rehabilitasyon merkezine yat\u0131r\u0131lmas\u0131n\u0131n ard\u0131ndan \u00e7ocuklar\u0131 Charlie ve Sydney, metresiyle birlikte ya\u015fayan babalar\u0131 Charles Chaplin Sr. ‘nin yan\u0131na yolland\u0131. Charlie ve Sydney bu d\u00f6nemde d\u00f6nemde Kennington Road School’ a g\u00f6nderildiler. Charles Chaplin Sr, hen\u00fcz 37 ya\u015f\u0131ndayken \u00fcstesinden gelemedi\u011fi alkolizm nedeniyle, o\u011flu Charlie on iki ya\u015f\u0131ndayken, hayat\u0131n\u0131 kaybedecekti.<\/p>\n

Rehabilitasyon merkezinden \u00e7\u0131kt\u0131ktan k\u0131sa bir s\u00fcre sonra Hannah’ n\u0131n hastal\u0131\u011f\u0131 yeniden n\u00fcksedince \u00e7ocuklar bu sefer genel olarak workhouse olarak adland\u0131r\u0131lan ve olduk\u00e7a k\u00f6t\u00fc ko\u015fullar\u0131 ile bilinen bak\u0131mevlerinden birine yolland\u0131lar. Londra’n\u0131n do\u011fusundaki Lambert adl\u0131 b\u00f6lgede bulunan bu bak\u0131mevindeki g\u00fcnler annesi ve karde\u015finden ayr\u0131 kalan ve ya\u015f\u0131 bir hayli k\u00fc\u00e7\u00fck olan Charlie i\u00e7in hayli g\u00fc\u00e7 ge\u00e7mi\u015fti. Chaplin’ in Walworth ve Lambert’te ge\u00e7irdi\u011fi bu yoksulluk g\u00fcnleri onda derin izler b\u0131rakacak ve ileriki y\u0131llarda filmlerinde se\u00e7ti\u011fi mekan ve konularda s\u0131k s\u0131k kendini g\u00f6sterecekti.<\/p>\n

Sydney ve Charlie daha sonra aileden gelme yetenek ve al\u0131\u015fkanl\u0131\u011f\u0131n da etkisiyle tiyatrolarda ve m\u00fczikhollerde \u00e7al\u0131\u015fmaya ba\u015flad\u0131lar. Chaplin ciddi anlamdaki ilk sahne tecr\u00fcbesini The Eight Lancashire Lads adl\u0131 grupta \u00e7al\u0131\u015f\u0131rken ya\u015fad\u0131.<\/p>\n

Hannah \u00e7ocuklar\u0131 taraf\u0131ndan ABD’ye getirildikten yedi y\u0131l sonra 1928’de Hollywood’da ya\u015fam\u0131n\u0131 yitirdi. Babalar\u0131 farkl\u0131 olan Charlie ve Sydney’in, anneleri Hannah \u00fczerinden 1901 do\u011fumlu Wheeler Dryden adl\u0131 bir karde\u015fleri daha vard\u0131. Dryden, annesinin ruhsal rahats\u0131zl\u0131klar\u0131 nedeniyle babas\u0131 taraf\u0131ndan Hannah’ dan uzak tutulmu\u015f ve Kanada’da yeti\u015ftirilmi\u015fti. 1920 ortalar\u0131nda annesini g\u00f6rmek i\u00e7in ABD’ye giden Dryden, daha sonralar\u0131 karde\u015fleri ile film projelerinde \u00e7al\u0131\u015fm\u0131\u015f ve Chaplin’in asistanl\u0131\u011f\u0131n\u0131 yapm\u0131\u015ft\u0131r.<\/p>\n

Amerika g\u00fcnleri<\/strong><\/p>\n

Sydney Chaplin’in 1906’da d\u00f6nemin \u00fcnl\u00fc Fred Karno kumpanyas\u0131na kat\u0131lmas\u0131n\u0131n ard\u0131ndan Chaplin de, 1908’de onu izleyerek bu toplulu\u011fa kat\u0131lmay\u0131 ba\u015fard\u0131. Chaplin gezici Karno kumpanyas\u0131 ile 1910 – 1912 aras\u0131nda ABD’ye turneye \u00e7\u0131kt\u0131. \u0130ngiltere’ye d\u00f6n\u00fc\u015f\u00fcnden sadece be\u015f ay sonra yine Karno ile birlikte 2 Ekim 1912’de yeniden ABD’ye gitti. Bu seferki turda, daha sonra Laurel ve Hardy ikilisinden Stan Laurel’i canland\u0131racak olan Arthur Stanley Jefferson ile birlikte \u00e7al\u0131\u015ft\u0131 ve ayn\u0131 oday\u0131 payla\u015ft\u0131. Bir s\u00fcre sonra Stan Laurel \u0130ngiltere’ye d\u00f6nerken, Chaplin ABD’de kald\u0131 ve Karno ile turneye devam etti. 1913’teki bir g\u00f6steri s\u0131ras\u0131nda Mack Sennett’ \u0131n dikkatini \u00e7ekince onun sahibi oldu\u011fu Keystone St\u00fcdyolar\u0131 ile bir anla\u015fma yaparak onun ekibine kat\u0131ld\u0131. B\u00f6ylece 2 \u015eubat 1914′ te Henry Lehrman y\u00f6netmenli\u011finde sessiz bir film olan Making a Living adl\u0131 tek makaral\u0131k filmde rol alarak yetene\u011fini tam anlam\u0131yla g\u00f6sterebilece\u011fi sinemaya ad\u0131m atm\u0131\u015f oluyordu. Chaplin; iddal\u0131 tav\u0131rlar\u0131 ve bir \u0130ngiliz olmas\u0131ndan kaynaklanan yabanc\u0131l\u0131\u011f\u0131 ve ba\u011f\u0131ms\u0131z karakteri nedeniyle ba\u015fta Mack Sennett taraf\u0131ndan \u015f\u00fcpheyle kar\u015f\u0131lansa da\u00a0 k\u0131sa s\u00fcre i\u00e7inde yetene\u011fini kan\u0131tlay\u0131p yerini sa\u011flamla\u015ft\u0131rd\u0131. Keystone ile birlikte \u00e7al\u0131\u015ft\u0131\u011f\u0131 bir y\u0131l boyunca 35 filmde rol alan Chaplin h\u0131zla \u00fcnl\u00fc oldu.<\/p>\n

Chaplin 1916’da Mutual film \u015firketiyle (Mutual Film Corporation) bir seri komedi yap\u0131m\u0131 i\u00e7in anla\u015ft\u0131. On sekiz ayl\u0131k s\u00fcre\u00e7te on iki film \u00fcretti\u011fi bu d\u00f6nemde yapt\u0131\u011f\u0131 filmler, sineman\u0131n en etkili komedi filmleri aras\u0131nda yerini alm\u0131\u015ft\u0131r. Chaplin daha sonra Mutual ile ge\u00e7irdi\u011fi d\u00f6nemin kariyerindeki en mutlu d\u00f6nem oldu\u011funu s\u00f6ylemi\u015ftir.<\/p>\n

1918’de Mutual ile anla\u015fmalar\u0131n\u0131n sona ermesi \u00fczerine Chaplin kendi film \u015firketini kurdu. Kendi \u015firketiyle \u00e7ekti\u011fi filmlerden baz\u0131lar\u0131 \u015funlard\u0131r: A Dog’s Life (1918), Pay Day (1922), Shoulder Arms (1918), The Pilgrim (1923), The Kid (1921), A Woman of Paris (1923), The Gold Rush (1925), ve The Circus (1928).<\/p>\n

Sesli film d\u00f6neminden sonra kendisinin en b\u00fcy\u00fck filmi kabul edilen City Lights (\u015eehir I\u015f\u0131klar\u0131) (1931) filmini yapt\u0131.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u00dcnl\u00fc sanat\u00e7\u0131 Charlie Chaplin ve \u00fcnl\u00fc bilim adam\u0131 Einstein bulu\u015fuyor. Sohbet s\u0131ras\u0131nda Einstein , Chapline itiraf ediyor: Sizi k\u0131skan\u0131yorum. D\u00fcnyan\u0131n b\u00fct\u00fcn insanlar\u0131 sizin sanat\u0131n\u0131z\u0131 anl\u0131yor ve size hayran.Chaplin itiraz etmiyor: Do\u011fru, ama as\u0131l sizi k\u0131skanmak gerekir; sizi kimse anlamad\u0131\u011f\u0131 halde herkes size hayran, kar\u015f\u0131l\u0131\u011f\u0131n\u0131 veriyor. Charlie Chaplin in sessiz sinemaya veda etti\u011fi film olan Modern […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[112],"tags":[],"class_list":{"0":"post-4152","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-yedinci-sanat"},"yoast_head":"\nM\u00fcthi\u015f sinema zekas\u0131 ve s\u0131n\u0131r tan\u0131mayan akt\u00f6rl\u00fck yetene\u011fi | Charlie Chaplin - narteks.net<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/narteks.net\/index.php\/2010\/02\/06\/muthis-sinema-zekasi-ve-sinir-tanimayan-aktorluk-yetenegi-charlie-chaplin\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"M\u00fcthi\u015f sinema zekas\u0131 ve s\u0131n\u0131r tan\u0131mayan akt\u00f6rl\u00fck yetene\u011fi | Charlie Chaplin\" \/>\n<meta property=\"og:description\" content=\"\u00dcnl\u00fc sanat\u00e7\u0131 Charlie Chaplin ve \u00fcnl\u00fc bilim adam\u0131 Einstein bulu\u015fuyor. 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Sohbet s\u0131ras\u0131nda Einstein , Chapline itiraf ediyor: Sizi k\u0131skan\u0131yorum. D\u00fcnyan\u0131n b\u00fct\u00fcn insanlar\u0131 sizin sanat\u0131n\u0131z\u0131 anl\u0131yor ve size hayran.Chaplin itiraz etmiyor: Do\u011fru, ama as\u0131l sizi k\u0131skanmak gerekir; sizi kimse anlamad\u0131\u011f\u0131 halde herkes size hayran, kar\u015f\u0131l\u0131\u011f\u0131n\u0131 veriyor. 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