Mavi Boncuk | Amelya Özcan
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Amelya Hanim ( b. ... - d. February 3, 1967, Istanbul)
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Amelya, who occasionally appeared on the stage as a man, became famous with plays such as "Family Happiness" in which she acted with her husband alongside her cantos. After the bankruptcy of the theater and the death of Naşit Özcan, she tried to survive by preparing food for restaurants.
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Ms. Amelya (Özcan) describes her life as follows: “Our family grew up and got married in Direklerarasi.
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Naşit Özcan and Amelya Hanım / Parents of Selim and Adile Naşit
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Selim and Adile Naşit
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Küçük Verjin was one of the three most famous canto singers in Istanbul's entertainment scene at the beginning of the 20th century. Verjin Ozan with her real name, besides her singing, composed around 10 popular cantos such as "Çeri Başı", "I Love Violet", "Zibo Ayna Zurna Player". When he died in the autumn of 1964 at the age of 94, the last witness of an era passed away.
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[2] SOURCE
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[3] Researcher, writer and editor Sibel Öz's book "‘Oyuncu: Yeşilçam Yıldız Sisteminde Bir Yıldız: Adile Naşit’ | The Player: A Star in Yeşilçam Star System: Adile Naşit" has been published by İletişim Publishing. The book, which is a comprehensive biographical research on Adile Naşit, also contains important information on the Naşit Family.
Amelya Hanim ( b. ... - d. February 3, 1967, Istanbul)
Amelya Hanım, the daughter of the canto player Küçük Verjin[1] and the wife of the theater actor Naşit Özcan, became famous with cantos and duets. He took the stage with the famous theater actor of the time, Naşit Özcan[2], in duets, which are the musical plays of two people, and a love affair began between them in a short time. The couple, who got married later, had two children, whom everyone knows well today: Selim and Adile Naşit ( b. June 11, 1930 - d.December 11, 1987)[3].
Ms. Amelya (Özcan) describes her life as follows: “Our family grew up and got married in Direklerarasi.
My father, Yorgi, was the most famous cine violinist of the theatres. My mother Verjin's cantos were legendary. There is no need to tell or praise my husband Naşit… I used to sing canto, I performed a duet with my brother Niko.
One Ramadan night, the boss of the theater entered the dressing room. He was panting with rage: “What a disgrace!” he cried. “I'm tired of changing the curtain that separates the dressing room from the waiting room. Who is tearing it, who is cutting it with a razor? Is there someone watching over naked women?…” We were surprised. We looked at each other's faces.
We returned home at midnight. My mother pulled me aside: "I'll tell you a secret, don't tell anyone," she said. “I am the one who cut the curtain with a razor blade. I was jealous of your father. Handsome man. I was cutting the curtain with a razor and watching to see if it had anything to do with young women. Just when I was about to catch it, the boss's arrival prevented me!..
Naşit Özcan and Amelya Hanım / Parents of Selim and Adile Naşit
Selim and Adile Naşit
[1] Verjin Ozan | Minyon (Küçük) Verjin
With the death of Küçük Verjin, one of the last canto singers and duet singers of Direkli, a black line was drawn over one more name from the artist album of the Naşit Family.
Little Verjin was the mother-in-law of Naşit, the unforgettable name of Turkish theater, and grandmother of Selim and Adile Naşit.
He was born in 1870 in Şehzadebaşı, which is considered the birthplace of our theater. At the age of 20, she fell in love with the violin of her neighbor Yorgi, and then with herself.
Verjin married Yorgi Effendi, despite her mother and father's resistance saying, "We do not give daughters to drummers or musicians." At Yorgi's house, meetings and parties were held every night after returning from the theater. Peruz Hanım and Şamran Hanım, the Mother of Cantos, Memduh and Ali with their voices, Şevki Efendi with their saz and İsmail Efendi with their voices were attending these instrumental and oral meetings. Verjin was present at those meetings while serving her husband's concubines, while also serving the cantos.
he was mumbling.
One day, Ms. Peruz said to Yorgi, "Vergin's voice is very beautiful... Yorgi couldn't say "no". Verjin was ready for cantoism from yesterday.
“I loved my friends a flower
What a poisonous insect
Every day women chase girls
He's after kissing and loving…”
He burst onto the stage in his canto. However, since another canto player named Verjin was working in another theater in those days, the “theatre quarter” separated these two canto players with two pseudonyms. The daughter of the other theater was nicknamed "Minyon," and Yorgi Efendi's wife was nicknamed "Little".
Little Verjin won the love and applause of thousands of Istanbulites in 30 days of Ramadan.
In Şehzadebaşı, the names of three cantoists were written in capital letters: Peruz, Şamran, Küçük Verjin…
Little Verjin and Yorgi Efendi were happy. They had had 3 children. The eldest was male, they named him Andre. The second was angry, her name was Amelya. The third is Nico…
The children have grown. Andre was curious about his father's instrument, he became a violinist. Niko emulated his mother and went to the duo. Amelia was going to school.
At that time, Naşit established a theater and recruited Yorgi as a violinist, and Verjin and Niko as duo players. He also gave two rooms in the theater to the Yorgi Family… They were staying there…
Yorgi and Verjin wanted to give their daughter Amelya to Baker Cemal Efendi. However, the girl had a crush on Naşit Bey, who was 20 years older than her. Naşit also loved Amelya. But Naşit Bey was married.
Love did not listen to marriage, age, or baker Cemal Efendi. Naşit and Amelya got married.
Thus, she became the mother-in-law of Verjin boss Naşit Bey.
The Naşit Family, with their canto, duet, middle play, tuluat, operetta, and saz, has lived in and amused Istanbul for years.
Little Verjin was very carefree. With a four-line canto, four spoons. He would fix it with pudding and sweeten it. The medicine for Ms. Verjin's sadness was pudding. For example, when she heard that her husband Yorgi Efendi had died, she cried out, "Friends, pudding," and ate a whole tray of pudding. He was a little jealous. He was very jealous of his wife. So much so that, while Yorgi Efendi was playing the violin, he would cut the curtain with a razor and see if his "husband was looking at beautiful women" through the hole he made. Naşit Bey would change a curtain every week because of his mother-in-law's jealousy.
While the years were tearing down the pillars of Direk Inter, the death began to draw a black line on the Naşit Family one by one. First Yorgi Efendi died, then Naşit Bey. Little Verjin continued to sing canto until his last breath. He lived at the foot of his son Niko. At the age of 60, Niko sang duets in tent theaters to find money for his mother for cigarettes. Verjin fell into bed in 1963. He shared his troubles with his son. On November 11, 1964, a black frame was drawn in the name of Yorgi Efendi's only wife, Naşit Bey's beloved mother-in-law, and the famous canto player of Direkli, Küçük Verjin.
His last word as he died, his last wish was a bowl of pudding.
Source: http://muziksoylesileri.net/.../kucuk-verjin-hayatta-en.../
(November 1964 / New Newspaper Weekend Extra Addition / Archive work, editing: Serhan Yedig)
Naşit Özcan (Komik-i Şehir)
(b. 1886, Şehzadebaşı / Istanbul - d. April 26, 1943, Istanbul)
Theater actor, comedy master and manager .
Naşit Bey is also known as Funny Naşit Efendi and Komik-i Şehir (Büyük Komedyen|Great Comedian). He is the son of Miralay (colonel) Ahmet Bey. He is the father of theater and film actors Adile Naşit and Selim Naşit Özcan, and the grandfather of Naşit Özcan. He took the surname Özcan after the surname law. He completed his primary education at Kuyucu Muratpaşa Primary School, then after he studied at Beyazıt Rüştiyesi (secondary school), he entered the Veterinary School in Eyüp. He was taken to the Muzika-i Humayun (Palace Orchestra, 1900) as a private at the age of 14 because he often missed the theater from school. He took lessons from the puppeteer Halim Bey and the cellist Zeki Bey. He succeeded by making twelve kinds of imitations in the exam and was included in the Saray middle-game team. The first tuluat teacher was Abdi Efendi.
Naşit Özcan's acting career began with Abdürrezzak Efendi. He worked for a long time in various ensembles such as Kavuklu Hamdi and Küçük İsmail's Ortaoyunu Ensemble, Kel Hasan's Tuluat Ensemble, and Minakyan Ensemble. He did middle ball, puppet and Karagöz works, and after going in and out of various ensembles, he entered Kavuklu Hamdi's Ortaoyunu Branch and Benliyan's Operetta Ensemble. Sent to France by the palace. On his return, he joined Bertrand's Pantomime Ensemble, which performed plays at the Palace, and then the Italian Operetta Ensemble at the Palace. Naşit, who also worked in the Drama Company founded by Güllü Agop in the Palace, started to play in front of the public after the proclamation of the Constitutional Monarchy (1908). He gave performances at Direkinter, Fevziye Theater and Eyüp Sultan, and after 1913 he took the stage at the Şehzadebaşı Şark Theater and the Millet Theatre. While he was playing all the middle stage types successfully, he also played in the melodramas in the Mnakyan Company's repertoire. He appeared in all of the modern works not with his own clothes, but with the costume required by the role.
Naşit continued to work in the communities he founded in his own name in the Republican Period as well. He had created his own repertoire. He showed the skill of imitating the dialects of various peoples in the Ottoman empire with great skill, including the details between the characters. He knew very well how to feel the pulse of the people. His fame was beyond the borders of Istanbul. He played Kavuklu in Ortaoyunu. He also took part in plays from foreign plays that were applied to Turkish, and showed the same success in his own plays, which featured domestic types with sharp lines. In addition to his success in cinema, middle plays and melodramas, he gained his real fame in the theater where he created new types. He gave a new personality to the Ibiş typography of Tuluat plays. Chief Chef Tosun Ağa, Leblebici Horhor, Hoşkadem Kalfa, Surpik Dudu are the most important characters he has created and successfully played. Some of the plays he played are as follows: "My Master's Curiosity for Theatre", "Jewish Doctor's Mistress", "Istanbul Leprechaun", "Double Village Wedding".
[...Aşçıbaşı Tosun Ağa, Leblebici Horhor, Hoşkadem Kalfa, Surpik Dudu yarattığı ve başarıyla oynadığı en önemli tiplerdir. Oynadığı oyunlardan bazıları şunlardır: “Beyimin Tiyatro Merakı”, “Yahudi Doktorun Metresi”, “İstanbul Çapkını”, “Çifte Köy Düğünü”...]
Naşit Özcan, who is known as "the man who made even Sultan Abdülhamit laugh", fell in love with Kantoist Amelya Hanım during his marriage, and married Amelya Hanım, who later took the name Emel. Adile Naşit and Selim Naşit Özcan were born from this marriage. One of Naşit's apprentices is the famous comedian İsmail Dümbüllü. The artist, whose jubilee was made in 1938, did not appear on the stage after 1940. He appeared on the stage for a total of 38 years, although he was the highest paid actor in Turkey, he did not make any money. Making operettas with musical plays, turning written works into tuluat, and saving the comic from being Ibish were some of the main professions.
Naşit Bey, who is known as a theater actor and especially a theater performer, said in an interview with him in the "Tan" newspaper on 14 January 1937 that he liked the cinema more and continued his words as follows: And the effect on the public is better...” Naşit Bey, who made four films, played the roles of a soldier in the film "A Nation is Awakening", a beggar in the "Streets of Istanbul", and made two comedies, "Naşit Doçiler" and "Wedding Night". He died on April 26, 1943. He was buried in the Karacaahmet Cemetery.
Adile and Selim Naşit founded the Naşit Theatre, named after their father, in 1961. His son Selim Naşit Özcan (1928-2000), his daughter Adile Naşit (1930-1987) and grandson Naşit Özcan (B. 1957) were also names that theater audiences showed interest in.
REFERENCES: İbrahim Alaeddin Gövsa / Turkish Famous (1946), Mustafa N. Özön - Baha Dürder / Turkish Theater Encyclopedia (1967), Metin And / Turkish Theater in the Constitutional Era 1908-1923 (1971) - Traditional Turkish Theater, Peasant and Folk Theater Traditions (1985), Prof. Özdemir Nutku / Efdal Seniçli / Let There Be No Flood After Me (Memoirs of Muhsin Ertuğrul, 1989), Metin And / Traditional Turkish Theater (1985), İsmail Biret / Komi
EXCERPT
Why did Adile Naşit not become a 'star'?
"When we look at factors such as the attraction created by Adile Naşit, the permanence and indelibility of the characters she plays in films, the love of the public and the audience, and being an example/role model, we can state that she is a 'star' in a sense. However, it is not possible to evaluate her in the star patterns of the movie industry, popular culture or the tabloid press. Its popularity has emerged as a result of years of effort, starting from childhood; Although Arzu Film and Ertem Eğilmez's school played a role in making her a star in the hearts of the people, she created the admiration of the audience with his masterful acting, even in small or side roles. She managed to become an 'anti-star', not a star of the industry, with her attitude that shows that you can be a star otherwise, that you can be on top and unforgettable, that supporting roles can overshadow the leading roles, that insisting on art and being passionate about it pays off in the audience.” (Page; 192)