{"id":6123,"date":"2021-06-16T23:08:14","date_gmt":"2021-06-17T04:08:14","guid":{"rendered":"http:\/\/circassiancenter.com\/tr\/?p=6123"},"modified":"2021-06-17T18:01:01","modified_gmt":"2021-06-17T23:01:01","slug":"turkan-soray-kimdir","status":"publish","type":"post","link":"https:\/\/www.circassiancenter.com\/tr\/turkan-soray-kimdir\/","title":{"rendered":"T\u00dcRKAN \u015eORAY K\u0130MD\u0130R?"},"content":{"rendered":"

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28 Haziran 1945’de \u0130stanbul\u2019da do\u011fdu. Babas\u0131 Halit \u015eoray devlet demir yollar\u0131nda memur, annesi ev han\u0131m\u0131yd\u0131. Maddi imkanlar\u0131n k\u0131s\u0131tl\u0131 oldu\u011fu bir ailede d\u00fcnyaya geldi. \u00d6\u011frenimine Rami Ta\u015f mektebinde ba\u015flad\u0131 fakat s\u00fcrekli mahalle de\u011fi\u015ftirdiklerinden, e\u011fitimini 1956\u2019da Ferik\u00f6y ilkokulunda tamamlad\u0131.<\/span><\/p>\n

1954\u2019te Meliha ve Halit \u015eoray \u00e7ifti bo\u015fan\u0131r. \u00c7ocuklar annede kal\u0131r. Karag\u00fcmr\u00fck Sarma\u015f\u0131k Sokak\u2019a ta\u015f\u0131n\u0131rlar. Burada ev sahiplerinin k\u0131z\u0131 Emel Y\u0131ld\u0131z’la tan\u0131\u015f\u0131r, onun sayesinde de Ye\u015fil\u00e7am\u2019a ad\u0131m atar. Bir g\u00fcn onunla beraber film setine gider ve b\u00f6ylece \u00fcnl\u00fc \u201cYe\u015fil\u00e7am Soka\u011f\u0131\u201dna ad\u0131m\u0131n\u0131 atm\u0131\u015f olur. \u015eoray o d\u00f6nemde on be\u015f ya\u015f\u0131ndad\u0131r. Emel Y\u0131ld\u0131z, o s\u0131ra \u201cK\u00f6yde Bir K\u0131z Sevdim\u201d adl\u0131 filmin ba\u015frol\u00fcnde oynayacakt\u0131r. Bir g\u00fcn filmin setine \u015eoray’\u0131 da g\u00f6t\u00fcr\u00fcr. Kenarda bir yerde otururken T\u00fcrker \u0130nano\u011flunun dikkatini \u00e7eker. \u015eoray\u2019la tan\u0131\u015ft\u0131r\u0131l\u0131r. \u0130nano\u011flu ba\u015frol i\u00e7in T\u00fcrkan \u015eoray\u2019\u0131n daha uygun olaca\u011f\u0131na karar verir. \u015eoray\u2019\u0131n Ye\u015fil\u00e7am\u2019a giri\u015fi de b\u00f6ylece ger\u00e7ekle\u015fir.<\/p>\n

Bir Y\u0131ld\u0131z\u0131n Do\u011fu\u015fu (1960\u2019lar)
\n<\/b>
\nT\u00fcrkan \u015eoray bu filmin ard\u0131ndan yeni yeni teklifler almaya ba\u015flar. \u00c7evirdi\u011fi filmlerle, \u00f6zelikle magazin bas\u0131n\u0131n dikkatini \u00e7eker ve ilk kez, d\u00f6nemin \u00fcn yapm\u0131\u015f haftal\u0131k pop\u00fcler dergilerinden \u201cSinema\u201d ya kapak olur (15 Mart 1961, s.18). Ard\u0131ndan Artist, B\u00fcy\u00fck Gazete ve Ses Dergilerine.<\/p>\n

1960 y\u0131llarla birlikte \u015eoray\u2019\u0131n ba\u015far\u0131 grafi\u011fi de y\u00fckseliyordu. Art\u0131k ya\u015fam\u0131nda her\u015fey de\u011fi\u015fmekteydi ve bu de\u011fi\u015fiklik sosyal durumdan fizi\u011fine kadar her \u015feyine yans\u0131yordu. Erkeklerden g\u00f6rd\u00fc\u011f\u00fc ilgi ve artan seyirci ilgisi ona g\u00fcven kazand\u0131r\u0131yordu. Art\u0131k karars\u0131zl\u0131ktan kurtulup kad\u0131nl\u0131\u011fa ad\u0131m at\u0131yordu. Art\u0131k daha \u015fuh biri halini alacakt\u0131r. Bu de\u011fi\u015fimiyle gerek Ye\u015fil\u00e7am \u00e7evrelerinde gerek seyircisi aras\u0131nda b\u00fcy\u00fck bir etki g\u00fcc\u00fcne sahip olur.<\/p>\n

\u0130lk \u00d6nemli A\u015fama
\n<\/b>
\n\u201cAc\u0131 Hayat\u201d T\u00fcrkan \u015eoray\u2019\u0131n sinema hayat\u0131ndaki ilk d\u00f6n\u00fcm noktas\u0131d\u0131r. \u201cOtob\u00fcs Yolcular\u0131\u201d ile bu d\u00f6n\u00fcm noktas\u0131n\u0131n ilk k\u0131p\u0131rt\u0131lar\u0131na veren \u015eoray \u201cAc\u0131 Hayat\u201dla ilk \u00f6nemli a\u015famas\u0131n\u0131 da ge\u00e7er. Bu filmindeki rol\u00fc di\u011ferlerine g\u00f6re daha tutarl\u0131, tip olarak da ger\u00e7e\u011fe daha yak\u0131nd\u0131r. Film o g\u00fcne kadar yap\u0131lm\u0131\u015f en ba\u015far\u0131l\u0131, en \u015fiirsel g\u00f6r\u00fcnt\u00fcl\u00fc bir a\u015fk filmidir.<\/p>\n

1963\u2019te \u00e7evirdi\u011fi bu filmle 1964\u2019te I. Antalya Film Festivalinde en iyi kad\u0131n oyuncu \u00f6d\u00fcl\u00fcn\u00fc al\u0131r. Ayr\u0131ca \u201cAc\u0131 Hayat\u201d sinema yazarlar taraf\u0131ndan \u201cy\u0131l\u0131n filmi\u201d se\u00e7ilir. Art\u0131k izleyicide \u015eoray imgesi olu\u015fmaya ba\u015flam\u0131\u015ft\u0131r. Senaryo yazarlar\u0131 onun i\u00e7in \u00f6yk\u00fcler olu\u015fturabilir, y\u00f6netmenler filmlerini onun \u00fczerine kurabilirler.<\/p>\n

Hayat\u0131na Y\u00f6n Veren Adam
\n<\/b>
\nR\u00fc\u00e7han Adl\u0131\u2019n\u0131n \u015eoray\u2019\u0131n hayat\u0131nda \u00f6nemli bir rol\u00fc vard\u0131r. Onu korumu\u015f, hep zirvede kalmas\u0131nda b\u00fcy\u00fck rol oynam\u0131\u015ft\u0131r. Eyl\u00fcl 1962\u2019de bir film setinde tan\u0131\u015f\u0131rlar. R\u00fc\u00e7han Adl\u0131 \u015eoray\u2019dan tam 23 ya\u015f b\u00fcy\u00fckt\u00fcr. G\u00f6rm\u00fc\u015f\u2013ge\u00e7irmi\u015f bir insand\u0131. \u015eoray hep bir baban\u0131n \u015fefkatinden ve sevgisinden mahrum b\u00fcy\u00fcm\u00fc\u015f, bunlara ihtiya\u00e7 duymaktad\u0131r. \u015eoray\u2019da bu sevgi ve \u015fefkati Adl\u0131\u2019da bulur ve 20 y\u0131l\u0131n\u0131 onunla birlikte ge\u00e7irir.<\/p>\n

\u0130li\u015fkilerinden sonra \u015eoray giderek s\u00fczg\u00fcn bak\u0131\u015fl\u0131 \u015fuh bir kad\u0131n olmaktan s\u0131yr\u0131l\u0131p, yeni kimli\u011fine b\u00fcr\u00fcn\u00fcr ve 1965\u2019lerden ba\u015flayarak \u201cT\u00fcrk sinemas\u0131n\u0131n bir numaral\u0131 kad\u0131n\u0131\u201d olur. D\u00f6rt b\u00fcy\u00fckler aras\u0131nda olup (Fatma Girik, H\u00fclya Ko\u00e7yi\u011fit, Filiz Ak\u0131n) en \u00e7ok o tutulmaktad\u0131r.<\/p>\n

Sultan
\n<\/b>
\n\u015eoray\u2019\u0131n Sultan olmas\u0131nda ve kanunlar\u0131n\u0131n olu\u015fmas\u0131nda Adl\u0131\u2019n\u0131n b\u00fcy\u00fck pay\u0131 vard\u0131r. Adl\u0131, \u015eoray\u2019a g\u00f6nderdi\u011fi \u00e7i\u00e7ek buketlerine ili\u015ftirdi\u011fi kartlarda ya da b\u0131rakt\u0131\u011f\u0131 notlarda ona hep \u201cSultan\u0131m\u201d diye hitap eder. (Can\u0131m sultan\u0131m, han\u0131m sultan.. gibi) Bunlar daha sonra bas\u0131nda yer al\u0131r ve d\u00f6nemin \u00fcnl\u00fc gazete ve dergilerinde yay\u0131nlan\u0131r. B\u00f6ylece \u015eoray art\u0131k T\u00fcrk sinemas\u0131n\u0131n da, halk\u0131n da \u201cSultan\u201d\u0131 olmaya ba\u015flar.<\/p>\n

Adl\u0131\u2019n\u0131n onun hayat\u0131ndaki yeri ve \u00fczerindeki etkisi, \u00f6zelikle birlikte ya\u015famaya ba\u015flad\u0131klar\u0131 1963 y\u0131l\u0131ndan ba\u015flayarak \u00f6nemini ve a\u011f\u0131rl\u0131\u011f\u0131n\u0131 art\u0131r\u0131r. 1966\u2019n\u0131n sonlar\u0131na do\u011fru ise birbiri ard\u0131na \u015eoray filmleri \u00e7evrilir ve ayn\u0131 haftalarda Beyo\u011flu sinemalar\u0131nda vizyona girince durum bir s\u00fcre i\u00e7in aleyhine geli\u015fir. Ayn\u0131 haftalarda oynayan \u015eoray\u2019l\u0131 filmler adeta birbirini vurur. \u015eoray\u2019\u0131n b\u00f6yle bir hataya kurban gitmesinin nedeni ayn\u0131 y\u0131l i\u00e7inde \u00e7ok say\u0131da film \u00e7evirmesi ve oynad\u0131\u011f\u0131 filmlerin ayn\u0131 konular\u0131 kapsamas\u0131d\u0131r.
\nBir s\u00fcre sonra aleyhine geli\u015fen bu tehlikeli sars\u0131nt\u0131y\u0131 g\u00fc\u00e7l\u00fckle atlat\u0131r ve durumu lehine geli\u015ftirip fiyat\u0131na zam yapar. B\u00f6ylece b\u00fct\u00fcn yap\u0131mc\u0131lar \u015eoray\u2019\u0131 kara listeye al\u0131rlar. Bu karara g\u00f6re ona film \u00e7evirttirmeyecek, mukavele s\u00fcresi uzat\u0131lmayacak, sinema salonlar\u0131nda da filmleri g\u00f6sterilmeyecektir. O art\u0131k Ak\u00fcn, Acar, Arzu, Duru film….gibi b\u00fcy\u00fck \u015firketlerin de kara listesindedir. Aleyhine geli\u015fen t\u00fcm olaylardan sonra \u015eoray kendine bir savunma politikas\u0131 bulur ve yap\u0131mc\u0131lar\u0131n kar\u015f\u0131s\u0131na ald\u0131\u011f\u0131 baz\u0131 kararlarla \u00e7\u0131k\u0131p, bu kararlardan da taviz vermeyecektir. B\u00f6ylece \u015eoray kanunlar\u0131 olu\u015fur.<\/p>\n

\u015eoray Kanunlar\u0131
\n<\/b>
\n1) T\u00fcrkan \u015eoray film senaryolar\u0131n\u0131 film \u00e7ekim tarihinden en az bir ay \u00f6nce be\u011fenir.
\n2) T\u00fcrkan \u015eoray, Senaryoyu be\u011fenmedi\u011fi takdirde yeni senaryo verilecektir.
\n3) Her senaryoda be\u011fendi mutabakat\u0131 \u015fartt\u0131r.
\n4) Filmde \u00f6p\u00fc\u015fme ve a\u00e7\u0131k sahneden olmayacakt\u0131r.
\n5) Filmdeki modern giysiler T\u00fcrkan \u015eoray\u2019a tarihsel olanlar ise \u015firkete aittir.
\n6) Film \u00e7ekimi \u0130stanbul dahili olup T\u00fcrkan \u015eoray \u0130stanbul d\u0131\u015f\u0131na \u00e7\u0131kamaz.
\n7) \u00c7al\u0131\u015fma saatleri sabah 8 ile ak\u015fam 19 aras\u0131d\u0131r.
\n8) Pazar g\u00fcnleri T\u00fcrkan \u015eoray \u00e7al\u0131\u015fmaz.
\n9) T\u00fcrkan \u015eoray ad\u0131 jenerik, afi\u015f ilan ve sinema fenerlerinde ba\u015fta ve tek olarak yaz\u0131lacakt\u0131r.
\n10) Filmin her oynad\u0131\u011f\u0131 yerde 9. madde uygulanacakt\u0131r.
\n11) Filmlerin seslendirilmesinde T\u00fcrkan \u015eoray\u2019\u0131n sesi i\u00e7in kendi mutabakat\u0131 \u015fartt\u0131r.
\n12) \u015eirket filmi kendi hesab\u0131na \u00e7eker. E\u011fer ba\u015fka \u015firketle ortak ortak yap\u0131ma gidilirse T\u00fcrkan \u015eoray\u2019\u0131n mutabakat\u0131 \u015fartt\u0131r.
\n13) Film renkli ise T\u00fcrkan \u015eoray\u2019\u0131n mutabakat\u0131 ile \u00e7ekim g\u00fcnleri uzayabilir.
\n14) \u00c7ekilecek filmin rejis\u00f6r\u00fc ve ba\u015f erkek oyuncusu i\u00e7in T\u00fcrkan \u015eoray\u2019\u0131n mutabakat\u0131 \u015fartt\u0131r.
\n15) Bu \u015fartlara riayet etmeyen film \u015firketi 100 bin lira \u00f6demeyi taahh\u00fct eder.
\n16) \u0130htilaf vukuunda merci mahkemeleri \u0130stanbul mahkemeleridir.
\n17) T\u00fcrkan \u015eoray \u015firketlerden film ba\u015f\u0131na 60 bin lira al\u0131r.
\n18) T\u00fcrkan \u015eoray mecburi gecikmeleri 10 g\u00fcnden fazla beklemez.
\nD\u00f6nemine g\u00f6re bu olduk\u00e7a a\u011f\u0131r ko\u015fullar, 1967\u2019de son halini al\u0131p yaz\u0131l\u0131 bir metne d\u00f6n\u00fc\u015ft\u00fcr\u00fcl\u00fcr. T\u00fcrkan\u2019\u0131n \u00fcnl\u00fc ve gi\u015fe geliri \u00f6ylesine y\u00fcksektir ki, hi\u00e7bir firma, y\u00f6netmen veya oyuncu ona kar\u015f\u0131 \u00e7\u0131kamaz. T\u00fcrkan \u015eoray\u2019la mukavele yapmak i\u00e7in birbirleriyle yeniden yar\u0131\u015fa girerler. Bu kanunlarla R\u00fc\u00e7han Adl\u0131, \u015eoray\u2019\u0131n, Ye\u015fil\u00e7am\u2019daki imaj\u0131n\u0131 koruma alt\u0131na al\u0131r.<\/p>\n

\u015eoray\u2019\u0131n Sinemam\u0131zdaki Yeri
\n<\/b>
\n1960\u2019larda 4 b\u00fcy\u00fckler saltanat\u0131 s\u00f6z konusudur. Fatma Girik; ba\u015ftan itibaren dinamik canl\u0131, \u201cacul\u201d, giri\u015fken kolay y\u0131lmayan, daha erkeksi, yeni ya\u015fama k\u00fclt\u00fcr\u00fcyle dalga ge\u00e7en, alt k\u00fclt\u00fcre yak\u0131n bir tip, Filiz Ak\u0131n; daha modern, toplumun Bat\u0131\u2019ya d\u00f6n\u00fck y\u00fcz\u00fcyd\u00fc. O ince sar\u0131\u015f\u0131n ve k\u0131r\u0131lgan ki\u015fili\u011fiyle halk k\u0131zlar\u0131n\u0131 oynasa da pek inand\u0131r\u0131c\u0131 olmayacak, daha \u00e7ok zengin k\u0131zlar\u0131n\u0131, \u201cburjuva g\u00fcllerini\u201d temsil ederek biraz farkl\u0131 bir alana ge\u00e7ecekti. H\u00fclya Ko\u00e7yi\u011fit, geni\u015f bir canland\u0131rma yelpazesi ve \u00e7ok farkl\u0131 kimliklere b\u00fcr\u00fcnme yetene\u011fi olan, her s\u0131n\u0131fa ait olabilen, kibar evin k\u0131z\u0131.
\nT\u00fcrkan \u015eoray ise; g\u00fczel, \u00e7ekici, al\u0131ml\u0131 bir kad\u0131n ki\u015fili\u011fi yaratacak ve bunu hem g\u00fcld\u00fcr\u00fc, hem dramda ayn\u0131 ba\u015far\u0131yla s\u00fcrd\u00fcrecekti. Sosyal k\u00f6kenler itibar\u0131yla bir u\u00e7tan \u00f6b\u00fcr\u00fcne, bir kutuptan di\u011ferine kolayl\u0131kla gidip gelebilecekti. T\u00fcrk toplumu, sanat\u00e7\u0131n\u0131n halk k\u0131z\u0131 veya burjuva dilberi tiplemelerini ayn\u0131 ilgiyle kabul edecekti.<\/p>\n

Tip olarak da T\u00fcrk kad\u0131n\u0131n\u0131 yans\u0131tmaktad\u0131r. T\u00fcrk sinemas\u0131n\u0131n en g\u00fczel resim veren kad\u0131n oyuncusudur. Sinemasal a\u00e7\u0131dan zengin, seyirciyi \u00e7arpan bir g\u00f6r\u00fcnt\u00fcs\u00fc vard\u0131r. Halk\u0131n i\u00e7inde gelmesi zor \u015fartlarda b\u00fcy\u00fcmesi onu halka daha yak\u0131n k\u0131lacakt\u0131r. T\u00fcrk sinemas\u0131nda hi\u00e7bir kad\u0131n oyuncu onun gibi \u00e7evresinde yayg\u0131n bir etkinli\u011fe sahip olmam\u0131\u015ft\u0131r. G\u00fczelli\u011fi hep abart\u0131l\u0131d\u0131r ama s\u0131cakl\u0131\u011f\u0131 da tart\u0131\u015f\u0131lmaz.<\/p>\n

Bu \u00f6zellikleriyle sinemam\u0131zda farkl\u0131 bir yer a\u00e7ar. Di\u011fer kad\u0131n sanat\u00e7\u0131lara \u00f6rnek olmu\u015f, uygulamalar\u0131yla da takip edilmi\u015ftir. Sinemada en y\u00fcksek fiyata sahip oyuncu olu\u015fu, en \u00e7ok a\u015f\u0131k olunan kad\u0131n olu\u015fu, kendine has yasaklar koyu\u015fu, her rol\u00fcn alt\u0131ndan ba\u015far\u0131yla kalkmas\u0131, farkl\u0131 g\u00fczelli\u011fi, s\u0131cakl\u0131\u011f\u0131, bir sultan, bir efsane olu\u015fuyla ve di\u011fer y\u00f6nleriyle sinemadaki yerini de belirlemi\u015ftir.<\/p>\n

1970\u2019ler, \u015eoray, Sinema ve Toplum
\n<\/b>
\n\u015eoray, de\u011fi\u015fir g\u00f6z\u00fcken bir \u015feylere kar\u015f\u0131n, 1970\u2019lerin ba\u015flar\u0131nda da sinema siyasetini hemen hemen aynen s\u00fcrd\u00fcr\u00fcr. Y\u0131lda yine 10-12 film yapar. \u00dcnl\u00fc yazarlar\u0131n eserlerine el at\u0131l\u0131r fakat ba\u015far\u0131l\u0131 olunmaz. Sultan Gelin, Cemo gibi yar\u0131m ba\u015far\u0131lar elde edilirken, Vukuat Var, Asiye Nas\u0131l Kurtulur gibi filmler fiyaskoyla sonu\u00e7lan\u0131r. \u00dcnl\u00fc y\u00f6netmenlerle (At\u0131f Y\u0131lmaz, Osman Seden, Halit Refi\u011f..) \u00e7al\u0131\u015fmak da pek bir \u015fey de\u011fi\u015ftirmez.<\/p>\n

70\u2019lerin ba\u015f\u0131nda yine zirvede g\u00f6z\u00fckmektedir. Fakat o art\u0131k daha de\u011fi\u015fik, daha farkl\u0131 bir\u015fey arama \u00e7abas\u0131ndad\u0131r. 1972 y\u0131l\u0131nda mesleki ya\u015fam\u0131nda yeni bir d\u00f6nem a\u00e7\u0131l\u0131r. Film say\u0131s\u0131n\u0131 ciddi anlamda azalt\u0131r. Bu y\u0131la iki filmi damgas\u0131n\u0131 vuracakt\u0131r. Biri Cemo\u2019dur. Bu filmin \u00e7ekimlerinde \u015eoray attan d\u00fc\u015fer ve fel\u00e7 olma tehlikesiyle kar\u015f\u0131 kar\u015f\u0131ya kal\u0131r. Olay, filme iyi bir reklam arac\u0131 olur. As\u0131l b\u00fcy\u00fck tepkilere yol a\u00e7an olay ise bir di\u011fer filmi \u201cD\u00f6n\u00fc\u015f\u201dt\u00fcr. \u00c7\u00fcnk\u00fc \u015eoray\u2019\u0131n y\u00f6netmenlik denemesi yapt\u0131\u011f\u0131 ilk filmdir. \u015eoray bir\u00e7ok \u00e7evrenin ele\u015ftirisine maruz kal\u0131r. Filmin ba\u015far\u0131l\u0131 olmayaca\u011f\u0131 d\u00fc\u015f\u00fcn\u00fcl\u00fcr, fakat beklenenin aksine dikkat \u00e7eker ve ba\u015far\u0131l\u0131 olur. \u015eoray, ele\u015ftirmenlerin, sinema uzmanlar\u0131n\u0131n ve de \u201cciddi bas\u0131n\u201d\u0131n dikkatini \u00e7eker. Film y\u0131l\u0131n en b\u00fcy\u00fck i\u015f yapan filmi olur. \u015eoray\u2019a daha \u00f6nce y\u00fcz \u00e7evirenler, bu kez onu sahiplenirler. Ayr\u0131ca \u201cD\u00f6n\u00fc\u015f\u201d 1973\u2019te \u201cMoskova Film Festivali\u201dnde \u00f6zel bir \u00f6d\u00fcl al\u0131r. \u201cAzap\u2019ta (1973) ikinci y\u00f6netmenlik denemesini ger\u00e7ekle\u015ftirir fakat bu filmde ba\u015far\u0131l\u0131 olamaz.<\/p>\n

70\u2019lerin ba\u015flar\u0131nda O hepsi birbirinin ayn\u0131, en az\u0131ndan benzeri dram veya komedilerden daha ki\u015filikli, daha ger\u00e7ek\u00e7i filmlere do\u011fru kaymas\u0131nda, belki y\u0131llard\u0131r s\u00fcre gelen akl\u0131 ba\u015f\u0131nda, sorumlu ve olduk\u00e7a poltize bir ele\u015ftirinin katk\u0131s\u0131 olmu\u015ftur. Ama temel neden, T\u00fcrk toplumunun o y\u0131llardaki genel havas\u0131d\u0131r. Art\u0131k sinema da o uzun y\u0131llar s\u00fcrd\u00fcrd\u00fc\u011f\u00fc pembe r\u00fcyadan uyan\u0131yordu. Y\u00f6netmenler ilk defa ger\u00e7ek\u00e7i konulara el atmakta, Anadolu bozk\u0131rlar\u0131nda mekan bakmakta, k\u00f6yl\u00fc kad\u0131nlar\u0131n dram\u0131n\u0131 ke\u015ffetmektedirler. Ba\u015fta T\u00fcrkan \u015eoray ve di\u011fer \u00fcnl\u00fc starlar, ger\u00e7ekten ya\u015fam\u0131\u015f ve ya\u015fayan kad\u0131n portreleri \u00e7izmeye ba\u015flarlar. Konfeksiyon usul\u00fc yap\u0131lan filmlerin yerini daha ger\u00e7ek\u00e7i konular, daha kapsaml\u0131 yakla\u015f\u0131mlar, daha b\u00fct\u00fcnc\u00fcl \u00e7abalar al\u0131r. Art\u0131k her film ayr\u0131 bir proje olup, \u00e7ok daha dikkatle \u00fczerinde durulacakt\u0131r. 76\u2019da 3. \u015eoray y\u00f6netmenli\u011fi \u00fcr\u00fcn\u00fc olan \u201cBodrum Hakimi\u201dni \u00e7eker ve yeniden sahnededir. Yerini yeniden sa\u011flamla\u015ft\u0131rm\u0131\u015ft\u0131r. 1977\u2019de en g\u00fczel filmlerinden biri olan \u201cSelvi Boylum al Yazmal\u0131m\u201d da oynar. Bu filmle \u015eoray\u2019a en iyi kad\u0131n oyuncu \u00f6d\u00fcl\u00fc gelir.<\/p>\n

1980\u2019ler ve Sonras\u0131 \u015eoray, Toplum ve Sinema
\n<\/b>
\nBu h\u0131zl\u0131 d\u00f6nemden sonra \u015eoray bir s\u00fcre setlerden uzak kal\u0131r. 80\u2019de film yapmaz. 1981\u2019de ise son y\u00f6netmenlik \u00fcr\u00fcn\u00fc olan \u201cY\u0131lan\u0131 \u00d6ld\u00fcrseler\u201d ile geri d\u00f6ner. Bu arada halk sinemaya gitmeyi reddeder. Art\u0131k yeni bir ku\u015fak, yeni y\u00f6netmenler, yeni bir anlay\u0131\u015f do\u011fuyordu. (ve 80\u2019li \u201390\u2019l\u0131 y\u0131llar boyunca \u015eoray\u2019da bir \u00e7ok yeni y\u00f6netmene destek verdi.) 1980\u2019lerle ba\u011f\u0131ms\u0131z sineman\u0131n \u00f6n\u00fc a\u00e7\u0131l\u0131r. 80\u2019lerde sinemam\u0131z art\u0131k daha ayd\u0131n, daha incelmi\u015f \u00fcr\u00fcnler, b\u00fcy\u00fck kentin orta s\u0131n\u0131flar\u0131na d\u00f6n\u00fck hikayeler vermeye ba\u015flayan daha \u00f6zel bir alan olmaya do\u011fru gidecektir.<\/p>\n

1983\u2019te \u015fark\u0131c\u0131 ve t\u00fcrk\u00fcc\u00fclerin oynad\u0131\u011f\u0131 arabesk a\u011f\u0131rl\u0131kl\u0131 filmler T\u00fcrk Sinemas\u0131ndaki yerini ne kadar korumaya \u00e7al\u0131\u015fsa da, kad\u0131n d\u00fcnyalar\u0131n\u0131 sorgulayan \u201ckad\u0131n filmleri\u201d \u00f6ne \u00e7\u0131kmaya ba\u015flayacakt\u0131r. De\u011fi\u015fen ko\u015fullar ve ya\u015fanan ekonomik krizler nedeniyle 1980-86 y\u0131llar\u0131nda iki\u015fer filmle yetinmek zorunda kalan T\u00fcrkan \u015eoray 1987\u2019de bu say\u0131y\u0131 d\u00f6rde \u00e7\u0131kar\u0131r.
\n80\u2019li y\u0131llar \u015eoray\u2019\u0131n hem mesle\u011finde hem de \u00f6zel ya\u015fam\u0131nda \u00f6nemli de\u011fi\u015fikliklere sahne olacakt\u0131r. \u015eoray kanunlar\u0131 y\u0131k\u0131lacak, oynad\u0131\u011f\u0131 \u201cMine\u201d adl\u0131 filmiyle \u201ckad\u0131n filmleri\u201d ak\u0131m\u0131n\u0131 da a\u00e7acakt\u0131r.<\/p>\n

\u00d6zel ya\u015fam\u0131nda ise yirmi y\u0131l\u0131n\u0131 feda etti\u011fi R\u00fc\u00e7han Adl\u0131\u2019y\u0131 1983\u2019te terk edecek, ayn\u0131 y\u0131l sinema ve tiyatro sanat\u00e7\u0131s\u0131 Cihan \u00dcnal ile evlenecektir. 84\u2019te annesini kaybedecek ve bir s\u00fcre sonra k\u0131z\u0131 Ya\u011fmur d\u00fcnyaya gelecektir. \u015eoray \u00dcnal \u00e7ifti beraber birka\u00e7 filmde beraber oynarlar fakat filmler beklenen i\u015fi yapmaz. 87\u2019de \u00e7ift ayr\u0131l\u0131r. 90\u2019l\u0131 y\u0131llar\u0131 da birka\u00e7 filmle kapat\u0131r \u015eoray. 94\u2019te babas\u0131n\u0131, 95\u2019te de b\u00fcy\u00fck a\u015fk\u0131 R\u00fc\u00e7han Adl\u0131\u2019y\u0131 kaybeder. Bu y\u0131llarda seyircisinin kar\u015f\u0131s\u0131na birka\u00e7 dizi filmle gelir. 2000 y\u0131l\u0131nda \u00e7evirdi\u011fi \u201c\u0130kinci Bahar\u201d adl\u0131 dizi ise di\u011ferlerinden \u00e7ok farkl\u0131 bir yere sahip olacakt\u0131r.Ayr\u0131ca T\u00fcrkan \u015foray T\u00fcrkiye e\u011fitimine de katk\u0131da bulunmu\u015ftur.1973 y\u0131l\u0131nda yapt\u0131rm\u0131\u015f oldu\u011fu ilk\u00f6\u011fretim okulu \u0130stanbul’un Hisar\u00fcst\u00fc semtinde yer almaktad\u0131r.<\/p>\n

Ald\u0131\u011f\u0131 \u00d6d\u00fcller
\n<\/b>1964 I. Antalya Film Festivali. \u201cAc\u0131 Hayat\u201dla \u201cen ba\u015far\u0131l\u0131 kad\u0131n oyuncu.\u201d (Alt\u0131n Portakal)
\n1968 5. Antalya Film Festivali: \u201cVesikal\u0131 Yarim\u201dle \u201cen ba\u015far\u0131l\u0131 kad\u0131n oyuncu\u201d. (Alt\u0131n Portakal)
\n1969 Ekspress Gazetesi: Halk oyu ile \u201cy\u0131l\u0131n kad\u0131n artisti\u201d
\n1971 Ekspress Gazetesi: Halk oyu ile \u201cy\u0131l\u0131n kad\u0131n artisti\u201d.
\n1973 5. Adana Film Festivali: \u201cMahpus\u201dla \u201cen ba\u015far\u0131l\u0131 kad\u0131n oyuncu\u201d. (alt\u0131n Koza)
\nMoskova Film \u015eenli\u011fi (Rusya): \u201cD\u00f6n\u00fc\u015f\u201dle \u201c\u00f6zel \u00f6d\u00fcl\u201d.
\nAnkara Gazeticiler Cemiyeti: \u201cY\u0131l\u0131n Artisti\u201d
\nKelebek Gazetesi: Halk oyu ile \u201cy\u0131l\u0131n kad\u0131n sanat\u00e7\u0131s\u0131\u201d.
\nK\u0131br\u0131s Gazeteciler Cemiyeti: \u201cY\u0131l\u0131n Sanat\u00e7\u0131s\u0131\u201d
\nTerc\u00fcman Gazetesi: Halk oyu ile \u201cen iyi sanat\u00e7\u0131\u201d
\n\u0130zmir Kad\u0131nlar Birli\u011fi: \u201cD\u00f6n\u00fc\u015f\u201dle \u201cen iyi kad\u0131n oyuncu\u201d.
\n1978 Ta\u015fkent Film \u015eenli\u011fi: \u201cSelvi Boylum Al Yazmal\u0131m\u201dla Uluslaras\u0131 Aytmatov Kul\u00fcb\u00fc\u2019n\u00fcn geleneksel \u00f6d\u00fcl\u00fc.
\n1987 27. Antalya Film Festivali: \u201cHayallerim, A\u015fk\u0131n ve Sen\u201ddeki yorumuyla \u201cen iyi kad\u0131n oyuncu\u201d. (Alt\u0131n Portkal)
\n1990 2. \u0130zmir Film Festiali: \u201cAlt\u0131n Artemis onur \u00f6d\u00fcl\u00fc.\u201d
\n1992 8. Bastia Akdeniz Sinemalar\u0131 Festiali \u201cSo\u011fuktu ve Ya\u011fmur \u00c7iseliyordu\u201ddaki yorumuyla \u201cen iyi kad\u0131n oyuncu\u201d.
\n1994 6. Ankara Film Festivali: \u201cEmek \u00f6d\u00fcl\u00fc\u201d.
\n31. Antalya Film Festivali: \u201cBir A\u015fk U\u011fruna\u201ddaki yorumuyla \u201cen iyi kad\u0131n oyuncu\u201d. (Alt\u0131n Portakal)
\n1996 15. Uluslararas\u0131 \u0130stanbul Film Festivali: Sinema onur \u00f6d\u00fcl\u00fc
\nMagazin Gazeticiler Derne\u011fi 4. Alt\u0131n Objektif \u00d6d\u00fcl\u00fc, Onur \u00d6d\u00fcl\u00fc.
\n1999 Roma Film Festiali: B\u00fcy\u00fck \u00d6d\u00fcl
\n2. U\u00e7an S\u00fcp\u00fcrge Kad\u0131n Filmleri Festivali: Kad\u0131n y\u00f6netmen \u00f6d\u00fcl\u00fc.
\n2000 Marmara \u00dcniversitesi \u0130leti\u015fim Fak\u00fcltesi: Zirvedekiler 2000 \u00f6d\u00fcl\u00fc
\n31. Antalya Film Festivali: \u201cBir A\u015fk U\u011fruna\u201ddaki yorumuyla \u201cen iyi kad\u0131n oyuncu.\u201d (Alt\u0131n Portakal)
\n2001 Sak\u0131p Sabanc\u0131 T\u00fcrk Kalp Vakf\u0131: \u201c\u0130kinci Bahar\u201d dizisiyle \u201ciyi kalp \u00f6d\u00fcl\u00fc\u201d.
\n2001 \u0130stanbul \u00dcniversitesi \u0130leti\u015fim Fak\u00fcltesi-Tekofaks Panasonic: \u201c\u0130kinci Bahar\u201d dizisindeki rol\u00fcyle \u201c2000 y\u0131l\u0131n\u0131n ba\u015far\u0131l\u0131 ileti\u015fimci \u00f6d\u00fcl\u00fc.\u201d
\nAkademi \u0130stanbul: \u201cY\u0131l\u0131n en ba\u015far\u0131l\u0131 sanat\u00e7\u0131s\u0131 \u00f6d\u00fcl\u00fc\u201d.<\/p>\n

Filmografisi<\/b>
\n1960: K\u00f6yde Bir K\u0131z Sevdim, A\u015fk R\u00fczgar\u0131, G\u00fczeller Resmi Ge\u00e7idi, Utanmaz Adam
\n1961: Afacan, A\u015fk ve Yumruk, Dikenli G\u00fcl, G\u00f6n\u00fclden G\u00f6n\u00fcle, Hat\u0131rla Sevgilim, Kaderin \u00d6n\u00fcne Ge\u00e7ilmez, Karde\u015f U\u011fruna, Melekler \u015eahidimdir, Otob\u00fcs Yolcular\u0131, Sevimli Haydut, Siyah Melek
\n1962: Ac\u0131 Hayat, Allah Seviniz Dedi, A\u015fk Yar\u0131\u015f\u0131, Bardaktaki Adam, Billur K\u00f6\u015fk, Bizde Arkada\u015f m\u0131y\u0131z, DikmenY\u0131ld\u0131z\u0131, K\u0131rm\u0131z\u0131 Karanfiller, Lekeli Kad\u0131n, Ne \u015eeker \u015eey, \u00dcmitler K\u0131r\u0131l\u0131nca, Zorlu Damat
\n1963: Ac\u0131 A\u015fk, Ay\u015fecik Can\u0131m\u0131n \u0130\u00e7i, Badem \u015eekeri, Beni Osman \u00d6ld\u00fcrd\u00fc, B\u00fct\u00fcn Su\u00e7umuz Sevmek, \u00c7al\u0131nan A\u015fk, \u00c7apk\u0131n K\u0131z, Da\u011flar Kral\u0131, Gen\u00e7 K\u0131zlar, \u0130ki Kocal\u0131 Kad\u0131n, K\u00fc\u00e7\u00fck Beyin K\u0131smeti, Say\u0131n Bayan
\n1964: Adanal\u0131 Tayfur Karde\u015fler, *******n Kuzusu, Bomba Gibi K\u0131z, B\u00fcc\u00fcr, F\u0131st\u0131k Gibi Ma\u015fallah, Gen\u00e7lik R\u00fczgar\u0131, G\u00f6zleri \u00d6mre Bedel, Kader9 Kap\u0131y\u0131 \u00c7ald\u0131, K\u0131zg\u0131n delikanl\u0131, Macera Kad\u0131n\u0131, Mualla, \u00d6ks\u00fcz K\u0131z, Y\u0131llar\u0131n Ard\u0131ndan
\n1965: Ekmek\u00e7i Kad\u0131n, Elveda Sevgilim, Garip Bir \u0130zdiva\u00e7, Hayat\u0131m\u0131n Kad\u0131n\u0131, Kom\u015funun Tavu\u011fu, Sana Lay\u0131k de\u011filim, Seven Kad\u0131n Unutmaz, Siyah G\u00f6zler, ******, Vah\u015fi Gelin, Veda Busesi
\n1966: Ak\u015fam G\u00fcne\u015fi, Alt\u0131n K\u00fcpeler, Analar\u0131n G\u00fcnah\u0131, \u00c7al\u0131ku\u015fu, \u00c7ama\u015f\u0131rc\u0131 G\u00fczeli, D\u00fc\u011f\u00fcn Gecesi, El K\u0131z\u0131, Eli Ma\u015fal\u0131, G\u00fcnahkar Kad\u0131n, Karanfilli Kad\u0131n, Kenar\u0131n Dilberi, Meleklerin \u0130ntikam\u0131, Meyhanenin G\u00fcl\u00fc, Siyah G\u00fcl
\n1967: A\u011flayan Kad\u0131n, ana, Ayr\u0131lsak da Beraberiz, Bir Da\u011f Masal\u0131, Her Zaman Kalbimdesin, Kara Duvakl\u0131 Gelin, Kelep\u00e7eli Melek, \u00d6l\u00fcms\u00fcz Kad\u0131n, Sinekli Bakkal, Tap\u0131lacak Kad\u0131n
\n1968: Abbase Sultan, A\u011fla G\u00f6zlerim, Art\u0131 Sevmeyece\u011fim, a\u015fk Eski Bir Yalan, Ay\u015fem, D\u00fcnyan\u0131n En G\u00fczel Kad\u0131n\u0131, Kad\u0131n De\u011fil Ba\u015f Belas\u0131, Kad\u0131n intikam\u0131, Kad\u0131n Severse, Kahveci G\u00fczeli, Vesikal\u0131 Yarim
\n1969: A\u015fk Mabudesi, Ate\u015fli \u00c7ingene, Bana Derler Fosforlu, Buruk Ac\u0131, Fosforlu Cevriye, G\u00fcnah Bende mi, K\u00f6le Olay\u0131m, Sana D\u00f6nmeyece\u011fim, Seninle \u00d6lmek \u0130stiyorum, Son Bahar R\u00fczgarlar\u0131
\n1970: A\u011flayan Melek, Ar\u0131m Bal\u0131m Pete\u011fim, Birle\u015fen Yollar, Bu\u011fulu G\u00f6zler, B\u00fclb\u00fcl Yuvas\u0131, Hayat\u0131m Sana Feda, Herkesin Sevgilisi, Kara G\u00f6zl\u00fcm, Ma\u011frur Kad\u0131n, Mazi Kalbimde Yarad\u0131r, Merhamet, Tatl\u0131 Mele\u011fim
\n1971: Ate\u015f Par\u00e7as\u0131, Bir Gen\u00e7 K\u0131z\u0131n Roman\u0131, Bir Kad\u0131n Kayboldu, Gelin \u00c7i\u00e7e\u011fi, G\u00fcl\u00fcm Dal\u0131m \u00c7i\u00e7e\u011fim, G\u00fcll\u00fc, Mavi E\u015farp, Melek mi, \u015eeytan m\u0131, Sevmek ve \u00d6lmek Zaman\u0131, Unutulan Kad\u0131n, Yedi Kocal\u0131 H\u00fcrm\u00fcz
\n1972: Cemo, \u00c7ile, D\u00f6n\u00fc\u015f, Sisli Hat\u0131ralar, Vukat Var, Zul\u00fcm
\n1973: Asiye Nas\u0131l Kurtulur, Azap, Dert Bende, Gazi Kad\u0131n, G\u00fcll\u00fc Geliyor G\u00fcll\u00fc, Mahpus, Namus Borcu, Sultan Gelin, Yalanc\u0131
\n1974: A\u00e7l\u0131k, Bal K\u0131z-\u015eenlik Var, \u00c7\u0131lg\u0131nlar, Y\u00fcre\u011fimde Yare Var
\n1975: Acele Koca Aran\u0131yor
\n1976: Bodrum Hakimi, Deprem, Devlerin A\u015fk\u0131
\n1977: Baraj, Dila Han\u0131m, Selvi Boylum Al Yazmal\u0131m
\n1978: Bir A\u015fk Masal\u0131, Cevriyem, Sultan, Tatl\u0131 Nigar
\n1979: Hazal, K\u00fcsk\u00fcn \u00e7i\u00e7ek
\n1981: Y\u0131lan\u0131 \u00d6ld\u00fcrseler
\n1982: Mine, Seni Kalbime G\u00f6md\u00fcm
\n1983: Metres, Seni Seviyorum
\n1984: Bir Sevgi \u0130stiyorum
\n1985: Bir Kad\u0131n Bir Hayat, K\u00f6rebe
\n1987: Gramafon Avrat, Hayallerim A\u015fk\u0131m ve Sen, On Kad\u0131n, Rumuz Gonca G\u00fcl
\n1988: Ada
\n1989: \u00f6l\u00fc Bir Deniz
\n1990: Berdel, Menek\u015fe Koyu, So\u011fuktu ve Ya\u011fmur Ciseliyordu
\n1993: \u015eahmaran
\n1995: Yer\u00e7ekimli A\u015fklar
\n1997: Nihavent Mucize
\n2003: G\u00f6nderilmemi\u015f Mektuplar
\n2004: M\u00fcr\u00fcvvetsiz M\u00fcr\u00fcvvet<\/p>\n

Diziler
\n<\/b>1993 Tatl\u0131 Bet\u00fc\u015f
\n1996 Bir A\u015fk U\u011fruna
\n2000 G\u00f6zlerinde Son Gece
\n2000 \u0130kinci Bahar
\n2002 Tatl\u0131 Hayat
\n2006 Cemile<\/p>\n","protected":false},"excerpt":{"rendered":"

28 Haziran 1945’de İstanbul’da doğdu. Babası Halit Şoray devlet demir yollarında memur, annesi ev hanımıydı. Maddi imkanların kısıtlı olduğu bir ailede dünyaya geldi. Öğrenimine Rami Taş mektebinde başladı fakat sürekli mahalle değiştirdiklerinden, eğitimini 1956’da Feriköy ilkokulunda tamamladı. 1954’te Meliha ve Halit Şoray çifti boşanır. Çocuklar annede kalır. Karagümrük Sarmaşık Sokak’a taşınırlar. Burada ev sahiplerinin kızı […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"ocean_post_layout":"","ocean_both_sidebars_style":"","ocean_both_sidebars_content_width":0,"ocean_both_sidebars_sidebars_width":0,"ocean_sidebar":"0","ocean_second_sidebar":"0","ocean_disable_margins":"enable","ocean_add_body_class":"","ocean_shortcode_before_top_bar":"","ocean_shortcode_after_top_bar":"","ocean_shortcode_before_header":"","ocean_shortcode_after_header":"","ocean_has_shortcode":"","ocean_shortcode_after_title":"","ocean_shortcode_before_footer_widgets":"","ocean_shortcode_after_footer_widgets":"","ocean_shortcode_before_footer_bottom":"","ocean_shortcode_after_footer_bottom":"","ocean_display_top_bar":"default","ocean_display_header":"default","ocean_header_style":"","ocean_center_header_left_menu":"0","ocean_custom_header_template":"0","ocean_custom_logo":0,"ocean_custom_retina_logo":0,"ocean_custom_logo_max_width":0,"ocean_custom_logo_tablet_max_width":0,"ocean_custom_logo_mobile_max_width":0,"ocean_custom_logo_max_height":0,"ocean_custom_logo_tablet_max_height":0,"ocean_custom_logo_mobile_max_height":0,"ocean_header_custom_menu":"0","ocean_menu_typo_font_family":"0","ocean_menu_typo_font_subset":"","ocean_menu_typo_font_size":0,"ocean_menu_typo_font_size_tablet":0,"ocean_menu_typo_font_size_mobile":0,"ocean_menu_typo_font_size_unit":"px","ocean_menu_typo_font_weight":"","ocean_menu_typo_font_weight_tablet":"","ocean_menu_typo_font_weight_mobile":"","ocean_menu_typo_transform":"","ocean_menu_typo_transform_tablet":"","ocean_menu_typo_transform_mobile":"","ocean_menu_typo_line_height":0,"ocean_menu_typo_line_height_tablet":0,"ocean_menu_typo_line_height_mobile":0,"ocean_menu_typo_line_height_unit":"","ocean_menu_typo_spacing":0,"ocean_menu_typo_spacing_tablet":0,"ocean_menu_typo_spacing_mobile":0,"ocean_menu_typo_spacing_unit":"","ocean_menu_link_color":"","ocean_menu_link_color_hover":"","ocean_menu_link_color_active":"","ocean_menu_link_background":"","ocean_menu_link_hover_background":"","ocean_menu_link_active_background":"","ocean_menu_social_links_bg":"","ocean_menu_social_hover_links_bg":"","ocean_menu_social_links_color":"","ocean_menu_social_hover_links_color":"","ocean_disable_title":"default","ocean_disable_heading":"default","ocean_post_title":"","ocean_post_subheading":"","ocean_post_title_style":"","ocean_post_title_background_color":"","ocean_post_title_background":0,"ocean_post_title_bg_image_position":"","ocean_post_title_bg_image_attachment":"","ocean_post_title_bg_image_repeat":"","ocean_post_title_bg_image_size":"","ocean_post_title_height":0,"ocean_post_title_bg_overlay":0.5,"ocean_post_title_bg_overlay_color":"","ocean_disable_breadcrumbs":"default","ocean_breadcrumbs_color":"","ocean_breadcrumbs_separator_color":"","ocean_breadcrumbs_links_color":"","ocean_breadcrumbs_links_hover_color":"","ocean_display_footer_widgets":"default","ocean_display_footer_bottom":"default","ocean_custom_footer_template":"0","ocean_post_oembed":"","ocean_post_self_hosted_media":"","ocean_post_video_embed":"","ocean_link_format":"","ocean_link_format_target":"self","ocean_quote_format":"","ocean_quote_format_link":"post","ocean_gallery_link_images":"off","ocean_gallery_id":[],"footnotes":""},"categories":[48],"tags":[],"class_list":["post-6123","post","type-post","status-publish","format-standard","hentry","category-degerlerimiz","entry"],"_links":{"self":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts\/6123","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/comments?post=6123"}],"version-history":[{"count":2,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts\/6123\/revisions"}],"predecessor-version":[{"id":20055,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts\/6123\/revisions\/20055"}],"wp:attachment":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/media?parent=6123"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/categories?post=6123"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/tags?post=6123"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}