I saw this great post about @ibrahimcelikkol, thought you might want to read it.

: Catherine Pederzoli-Ventura

Reflection on #İbrahimÇelikkol, actor. Two great French directors: Jean Luc Godard wrote "Photography is truth and cinema is 24 times the truth per second" +

and Patrick Chereau in turn affirmed "Cinema is the place of reality and life". The actor is still addressing a hypothetical audience; he looks at it but does not see it. It is a look that crosses it, goes beyond it, the risk of confusion between actor +

#İbrahimÇelikkol

& role is constantly present. The actor provides a body for the role, allows the character to bodily incarnate in the image. The body, the individual, the actor, the role are 4 decisive criteria.

#İbrahimÇelikkol makes his body eloquent and poetic in all his films and series. +

In the cinema, the characters immediately constitute full bodily signs and it is difficult to make the viewer know precisely his thoughts: we can guess it through an attitude, a look, a sketched gesture... +

#İbrahimÇelikkol

This is why the principles stated by İbrahim Çelikkol, in his interviews concerning the motivations for the choice of his roles and how they approach them denote an important and deep artistic reflection, because it is true that the actor proposes his roles +

#İbrahimÇelikkol

and characters to the audience and does not have to respond to his demand which is why whatever character he plays, İbo imposes a performance of such great intensity.
This is why he knows how to interpret all the roles and characters. +

#İbrahimÇelikkol

#İbrahimÇelikkol's career shows that he chooses more & more complex roles, each time he transforms into another, for this "other" to come, he must make himself available, then begins a long descent, in himself, in him, he prepares the psychic space which will invade his character

In his emotional memory, he descends, he illuminates the walls of the cave, tracks down the shadows and lets come the emotion they arouse as for Ali in #SadeceSen. As a viewer we can clearly see that he is not thinking about the event, +

#İbrahimÇelikkol

he is looking for the sensation that goes with it. If he travels in his childhood, it is not to find it, but to use the state of innocence as for Firat, the role interpreted in #Merhamet, not as purity, but as a reflection of his own knowledge, +

#İbrahimÇelikkol

in the spirit of the empirical approach, like becoming an immature being, undecided about his role as Cemil in #İffet. He forces the blockages, he disrupts the mechanism of the automatisms. +

#İbrahimÇelikkol

He accepts the fracture, the fragility to convert it into a creative force as in #Fetih1453, or #FerhatAslan in #SiyahBeyazAşk because his own emotion, sensitivity can't appear in the film. He lives.

#İbrahimÇelikkol

It is the paradox of the actor who consciously makes his own modes of emotion the figure of another emotion, that of the character, as for the role of Mehdi in #DoğduğunEvKaderindir, a gentle, loyal, fair being. The lucidity of the actor is totally at stake, +

#İbrahimÇelikkol

the emotion of the spectator. In his roles #İbrahimÇelikkol reveals the spectator's fragility: and we cry (when I look at his characters it is often my case) or we laugh. Once the scene has been rehearsed, the staging is complete, the scenery set up, the lights adjusted +

and the sound adjusted; it only remains to act! This is the case of Oğuz in #Reaksiyon, or Barca in #Muhteşemİkili where his transformation is breathtaking. #İbrahimÇelikkol has his palette of emotions in hand, he is both the painter and the painting and must sign his work. +

He can be satisfied with it, which is already a lot (which many "actors" do not do). But he goes further; he seeks something else in his interpretation: to play with his own fear. His job is then never to anticipate the moment to come, +

#İbrahimÇelikkol

But on the contrary to face the present moment, to seek the breaking point, the loss of balance which would plunge him into the abyss as is the case for example. throughout the series #SiyahBeyazAşk with Ferhat. As if suddenly he didn't know what to say next. +

#İbrahimÇelikkol

His roles are also there, his pleasure and his fear too: his response as an artist and creator, more than in the rendering of a proven technique, in the quality of its endangerment.
JL Godard and P. Chereau are a thousand times right +

#İbrahimÇelikkol

and we know that #İbrahimÇelikkol is one of the best actors of his generation: his films, his role, his characters speak for him. Brilliant. And it is a great joy for me to have discovered this great and magnificent actor thanks to a friend, three months ago.