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Civan Canova

Civan Canova

Actor · died at 67

Profile

Age at death67
Birth dateJune 28, 1955
BirthplaceAnkara
DiedAugust 20, 2022
ProfessionActor
Zodiac signCancer
Eye colorBrown
EducationAnkara State Conservatory, Theatre Department

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Civan Canova — Biography

Civan Canova was an artist who worked across a wide range, from the state theater stage to the mass audience of television, as much as a playwright as an actor. On television he is remembered as Celal in Çiçek Taksi, Rahmi in Paramparça and Mustafa in Atiye; in cinema, his role as a torturing police officer in Eve Dönüş won him the Golden Orange. He died in Istanbul on August 20, 2022, aged 67, after a long illness.

He was born in Ankara, the son of the theater man Mahir Canova. After TED Ankara College, in the summer of 1974 while preparing for the conservatory exam, he stood in front of the camera for the first time in Yılmaz Güney's Arkadaş, and entered the Ankara State Conservatory the same year. He graduated in 1979, joined the State Theatres and worked at the Istanbul State Theatre. He also turned to writing: starting with the screenplay Kör Buluşma, he wrote his first play, Kıyamet Sularında, in 1994; Sokağa Çıkma Yasağı and Düğün Şarkısı are among his most staged. From the 1990s he was both writer and actor on television with Bizim Aile, followed by Fatmagül'ün Suçu Ne?, Karadayı, Üç Kuruş and, on film, 72. Koğuş and F Tipi Film.

His awards include the Cevdet Kudret Literature Award for Sokağa Çıkma Yasağı, the Golden Orange and Sadri Alışık best supporting actor awards for Eve Dönüş, and the Afife Theatre Awards' most successful male actor of the year for Ölüleri Gömün. He also painted, and after his death the exhibition Damlalar opened at his wish.

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Their work through different eyes

Cinephile Looks at script, editing and directing choices; keeps a distance from formula films.

Civan Canova's commissioner in Eve Dönüş is the pressure that comes from outside the household in a film that tells September 12 through one ordinary home, with Memet Ali Alabora and Sibel Kekilli at its center. That the part was honored in the supporting category makes sense: in my view, in such a film a small role gets its weight not from screen time but from how believable the threat outside the home feels. It is a very different tone from Celal Kıraç in Çiçek Taksi.

History & Society Lens Asks about the period, the social background and what the work reflects.

A recurring ground in Civan Canova's cinema is the tension between the state and the individual. Eve Dönüş takes the coup year through one family, 72. Koğuş is Orhan Kemal's closed prison world, and 80. Adım is built around themes of prison and police. In my view, in these films Canova sets a face from the harder world of Turkey's institutions against the family-comedy Celal Kıraç of television.

These are not reader reviews: they are short editorial takes on this person's screen work, written from different viewer perspectives with AI assistance. Reader comments are below.

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