17 Eylül 2016 Cumartesi

"Adak"tan..

"Osman Şahin diye bir yazar var, bilir misin?"

"Ölüm Oyunları diye bir kitabını okumuştum."

"Bir keresinde kruvaze bir ceket dikmiştim ona. Son derece kibar, güleç yüzlü bir beyefendi. Neşeli bir bilgeliği var. Bir sürü hikâye anlatırdı. Askerliğini yaparken öyküleriyle bir yarışmaya katılmış. Ödülü aldığını öğrenir öğrenmez annesine mektup yazmış. Annesi okuma yazma bilmeyen köylü bir kadınmış. Yazar, mektubu annesine başkasının okuyacağını bildiği için en açıklayıcı şekilde yazmaya çalışmış. Demiş ki 'Güzel anacığım, Türkiye'nin çok önemli bir kurumunun açtığı bir yarışmada yazdığım hikâyelerle "en" birinci oldum.' Derken bir ay sonra yazara köyden bir mektup gelmiş. Okul defterinden yırtılmış bir kâğıda eğri büğrü harflerle yazılmış kısa bir mektup. Belli ki bir ilkokul çocuğuna yazdırılmış. Cevap şöyle: 'Evladım, birinciliğini tebrik ederim. İnşallah ikinci de olursun, üçüncü de.'"

Bora kahkaha atarak Helin'e doğru eğilir iyice, "Vay be, ne harika kadınmış!"

"Osman Şahin pek anlayamamış bu temenniyi, tezkereyi alır almaz köyüne dönmüş. Bakmış ki annesi elma ağacının altında kurutmalık elmalarla sofralıkları ayırıyor. 'Anne' demiş, 'birinciliğimi beğenmedin mi?' Annesi birkaç tane elmayı iki eliyle avuçlayarak oğluna uzatmış. Demiş, 'Birinciyi ne yapayım, bak bunlar böyle yan yana daha çok.'
"Diyeceğim, o kadın toplaya toplaya hissediyormuş dünyayı, saya saya değil. Etrafına bakınca taneleri değil bereketi görüyormuş çünkü."

Bora düşüncelidir, "Hayret, şimdi şeyi fark ettim, dil farkını... Ana oğul arasında nasıl dil farkı olur? İkisi de aynı elmaların insanı."

Helin sofrayı topluyordur, "Dünyaya nasıl alışırsan öyle konuşursun."


-Sema Kaygusuz, "Karaduygun" adlı kitaptaki "Adak" hikayesinden..
Doğan Kitap 2012, Metis Yayınları 2015

14 Eylül 2016 Çarşamba

"Yüzünde Bir Yer"den..

"Ölümünün üstünden epey geçmiş olsa da ondan artakalan hüznü ur gibi besliyordun göğsünde. Nehirden dönerken babaannenin kederi gizeminden sıyrılmaya, ona ilişkin bir görüntü anbean berraklaşmaya başladı. Dokunaklı bir fotoğraf anıydı aklından silinmeyen:
Basık hava yüzünden soba dumanlarının sokakları boğduğu Samsun'da bir kış akşamı. Otobüsler tıklım tıklım. Kadınlar avaz avaz çocuklarını eve çağırıyorlar. Sen henüz on yaşındasın. Taş döşeli yokuşun tepesinde, bir evin bahçe duvarına oturmuş ayaklarını sallaya sallaya gelen geçene bakıyorsun. Üstünde nefti bir pardösü, taşıdığı pazar torbaları yüzünden kolları upuzun, yokuşun altında yavaş yavaş belirginleşiyor babaannen. Eşarbı hafif arkaya kaymış. İnsanlar yanından gelip geçerken başıyla selam verip gözlerini yere indiriyor, belli ki kimseyle konuşmak istemiyor. Halinde bir kuş tedirginliği. Uzaktan bakınca hantal bir duruşu var, boynu omuzlarının arasına sıkışmış. İçinden geçtiği zamansallığı umursamaksızın başı eğik kendi zamanını yaşıyor. Söyleşecek kimse kalmamış gibi dünya ıssız onun gözünde. Baktığı yerlerde kendini bulamıyor. Seni fark ettiği an geniş bir gülümseme kaplıyor yüzünü. Sadece ağzıyla değil, burnuyla, alnıyla, yük çeken omuzlarıyla beraber, bütün mahalleye yayılan bir arzuyla gülümsüyor. Güzel bir ülkeye bakıyor sanki. Gözlerinde pırıltılı bir sadakat. Bu kusursuz an gelip geçtiğinde iyileşmeyecek bir yara açılıyor içinde. Elinde fotoğraf makinesi, nereye gidersen git bu gülüşü asla yakalayamayacağını henüz bilmiyorsun."

-Sema Kaygusuz
Metis Yayınları

13 Eylül 2016 Salı

"Yere Düşen Dualar"dan..

"Korkuyu tanırım. İnsanın korkunca nasıl çaresiz kaldığını, düşüncelerin nasıl cıva gibi birbirine uzak köşelere saçıldığını iyi bilirim. Günün en huzurlu anlarında, gölgelerin uzadığı vakit, kendimden iki kat büyüklükte çıkarım kurbanlarımın karşısına. Çoğu, elimde silah olmayışından bir an için umutlanır. Ama, o tekinsizliğim yok mu, meraksızlığım, her şeyi çoktandır gördüğümü hissettiren tavrım, kurbanlarımı allak bullak eder. Önce ruhlarını avuçlarım onların. Uğursuzlara ilişkin dinledikleri bütün masallar, bir tek adamı anlatan gerilimli bir söylenceye, ellerinde diken çizdiğinden başka yara olmayan yalnız bir çiçekçiye, bizzat şahsıma dönüşür. ... Doğanın yanıltıcı durağanlığı ve gizemli ıslığı eşliğinde, yapayalnız olduklarına inandırarak kayboluşlarının kefaretini alırım ellerinden. ... Ben uğurlarını alırım onların, geçmişlerini ve her keresinde temize çekilen bir geçmişin en sağlam kanıtlarını. İçlerinden bazıları öyle bir yanılgıya düşer ki, canlarını bağışladığım için bana minnetle bağlanırlar. Aramızda geçenleri anlamsız bir sadakatle gizleyerek, bir zamanlar kırda bir yerde soyulduklarını kimseye anlatmazlar. Bunu neden yaptığıma gelince yanıtı çok basit. Kırlarda yapayalnız dolaşmaktan korkarım çünkü."

- "Yere Düşen Dualar"dan,
Sema Kaygusuz,
Doğan Kitap 2006 - Metis Yayınları, 2014

4 Eylül 2016 Pazar

2015-2016 sahne sanatları sezonu

(01 eylül 2015 - 31 ağustos 2016)

tiyatro 
.a bien y réfléchir, et puisque vous soulevez la question, il faudra quand même trouver un titre un peu plus percutant. nicolle-rassov/nicolle 26000 couverts ***** (06hzr, paris)
.the encounter popescu-mcburney/mcburney complicite ***** (01-02nsn, atina)
.macbeth – iki kişilik kâbus shakespeare-uyanıksoy-temuçin/akal tiyatro bereze ***** (11mrt, 21hzr)
.late night blitz theatre group/blitz theatre group blitz theatre group ***** (23nsn)
.die kleinen füchse hellman/ostermeier schaubühne ***** (11tem, berlin)

.gülünç karanlık lotz/erpulat bakırköy belediye tiyatrosu ****.5 (22nsn)
.en kısa gecenin rüyası shakespeare/aydoğan moda sahnesi ****.5 (06şbt)
.faust I & II goethe/stemann thalia theater ****.5 (26hzr, münih)
.die dreigroschenoper brecht-weill/wilson berliner ensemble ****.5 (14mys)
.soğuğunca acımaya başlar labute/erol tiyatroperest ****.5 (28mrt)
.hamlet shakespeare-tiger lilies/tulinius republique theatre ****.5 (15ekm)
.artık hiç bi’şii eskisi gibi olmayacak sil gözyaşlarını yılmaz/yumuşak mek’an ****.5 (06ekm)
.olsa olmalı olabilir ives-temuçin/temuçin tiyatro bereze ****.5 (24mrt)
.sezonun kâbusu strindberg-selen-aktaş/selen-aktaş tiyatrotem ****.5 (10mrt)
.remote mitte kaergi rimini protokoll & gorki theater ****.5 (07tem, berlin)
.letter to a man dumais-lvowski/wilson change performing arts & baryshnikov production ****.5 (20eyl, milano)

.les larmes d’oedipe sofokles-mouawad/mouawad au carré de l’hypoténuse **** (01hzr, paris)
.trom topor-ünal/donatan seyyar sahne **** (21ksm)
.kadınlar aşklar şarkılar yılmaz/vural mek’an **** (19nsn)
.inflammation du verbe vivre sofokles-mouawad/mouawad au carré de l’hypoténuse **** (01hzr, paris)
.yeraltından notlar dostoyevski-erkal-arıcı/mordeniz seyyar sahne **** (12şbt)
.bir delinin hatıra defteri gogol-emüler/emüler tatbikat sahnesi **** (14nsn)
.dikkat bunu ben de yaparım! hornby/salihoğlu dot **** (29nsn)
.george dandin / la jalousie du barboillé moliere/pierre comedié-française **** (05hzr, paris)

.orestie, une comedie organique aiskhylos-castellucci/castellucci odeon-theatre de l’europe ***.5 (20ara, paris)
.kasap babür/dinçol ikincikat ***.5 (23mrt)
.açlık hamsun/nalbantoğlu sarı sandalye ***.5 (12mrt)
.kim var orada? açıkdeniz-yalaz-keskin-eren/açıkdeniz-yalaz-keskin-eren bgst ***.5 (15şbt)
.die raeuber schiller/haussmann berliner ensemble ***.5 (07tem, berlin)
.un chapeau de paille d’italie labiche/barberio corsetti comedié-française ***.5 (05hzr, paris)
.terore e miseria del terzo reich brecht/cherstich teatro franco parenti ***.5 (27eyl, milano)

.bütün çılgınlar beni sever tsanev/aydoğan moda sahnesi *** (24ekm)
.kar küresinde bir tavşan özbudak/engin ikincikat *** (30eyl)
.p*rk marçalı/marçalı ikincikat *** (05mrt)
.babil celkan/celkan bulut t. & emek sahnesi *** (31ock)
.onikinci gece shakespeare/biliş istanbul büyükşehir belediyesi şehir tiyatroları *** (28ekm)

.dil kuşu temur/şamlıoğlu destar **.5 (03mrt)
.brechTime turci/turci teatro zeta l’aquila **.5 (25eyl, milano)
.hamlet shakespeare/dromgoole-buckhurst shakespeare’s globe **.5 (11ksm)
.aşk delisi shepard/özcan oyun atölyesi **.5 (30ock)
.seviyoruz ve hiç bir şey bilmiyoruz rinke/aydoğan moda sahnesi **.5 (21ock)
.yalınayak müzikal kolektif/sertdemir altıdan sonra tiyatro **.5 (07mrt)
.antabus şahiner/yazar tatbikat sahnesi **.5 (16mrt)
.çağrılmayan yakup cansever/tataroğlu duende **.5 (15nsn)

.köpek, kadın, erkek berg/aydoğan moda sahnesi ** (05ksm)
.berlin alexanderplatz döblin-hartmann/hartmann deutsches theater berlin ** (12tem, berlin)
.yol akdağ/akdağ tiyatro tek ağaç ** (18mrt)
.song lima-tysona/cortese ranters theatre ** (04eyl)
.şato kafka-tandoğan/tandoğan küçük salon *.5 (21ksm)
.karlsson pa taket lindgren/öberg dramaten *.5 (18hzr, stockholm)
.köprüden görünüş miller/tekindor oyun atölyesi *.5 (23ock)
.cuento de aguas narciso/narciso *.5 (19eyl, napoli)
.la femme... napuliten de luca/de luca * (18eyl, napoli)
.kışdönümü harris/daltaban dot * (20nsn)


bale - dans
.primal matter papaioannou athens festival ***** (03ekm, vicenza)
.still life papaioannou onasis cultural center ***** (19-20mrt, antwerp)
.john newson dv8 ***** (19ara, paris)
.start again (the missing door – the lost room – stop-motion) carrizo - chartier – leon & lightfoot ndt 1 ***** (14-15ksm, amsterdam)

.verklaerte nacht keersmaeker rosas ****.5 (08hzr, paris)
.sen balık değilsin ki tomasyan çıplak ayaklar kumpanyası ****.5 (02ksm)

.the land carrizo residenztheater münchen  **** (24hzr, münih)
.noetic cherkaoui goteborgsoperans danskompani **** (04hzr, paris)
.polyphonia – alea sands - le sacre du printemps wheeldon - mcgregor – bausch ballet de l’opera national de paris **** (18ara, paris)
.fractus V cherkaoui eastman **** (07hzr, paris)
.neue stücke 2015 (somewhat still when seen from above – the lighters, dancehall polyphony – in terms of time) clinkard – bengolea & chaignaud – etchells tanztheater wuppertal pina bausch**** (24eyl, wuppertal)
.oggi, niente... odman **** (03ksm)
.exhibition – ma mere l’oye – bolero cherkaoui – verbruggen – bejart ballet vlaanderen **** (03hzr, antwerp)
.ciudedela bigi **** (10tem, bonn)
.links (selon desir – air – links) foniadakis  greek national opera ballet **** (03nsn, atina)

.für die kinder von gestern, heute und morgen bausch bayerische staatsballett ***.5 (27hzr, münih)
.simple present - kimlik akyay - gökdoğan & bilgen ***.5 (16şbt)

.uçuruma doğru lezzet lokantası fırıncıoğlu *** (23ekm)
.biz – bedr dehmen *** (11ksm)

.erma kanellopoulou ** (03ksm)
.romeo ja julia horecna suomen kansallisooppera * (27eyl, helsinki)
.work-in-progress sunum adams phillip adams dance project * (10eyl)


opera 
.dialogues des carmelites poulenc/carsen nationale opera & ballet, nederlands ***** (13ksm, amsterdam)
.la boheme puccini/cura kungliga operan **** (13hzr, stockholm)
.l’elisir d’amore donizetti/asagaroff teatro alla scala ***.5 (23eyl, milano)
.turandot puccini/marelli kungliga operan *** (14hzr, stockholm)
.madame butterfly puccini/harms kungliga operan *** (15hzr, stockholm)
.the rococo machine sandström/ancker drottningholms slottstheater *.5 (19hzr, drottningholm)


müzikal – şov - burlesk 
.singing in the rain freed/carsen theatre du chatelet ***.5 (19ara, paris)
.icon icon icon ***.5 (17hzr, stockholm)


çağdaş sirk
.mutfak ve itiraflar carroll-soldevila les 7 doigts de la main *** (25ara)


kukla 
.dünyanın yemeği tiyatro tem ***** (13şbt)
.appesa ad un filo di filippo marionette **** (27eyl, milano)


sokak tiyatrosu 
.swoon! strange fruit ***** (14eyl)
.aire show circo activo ***.5 (26eyl, milano)
.the shay street show shay wapniaz *** (26eyl, milano)
.crash! duo artemis **.5 (27eyl, milano)


festivaller 
torinodanza festival (09 eylül – 04 kasım, torino)
.impromptus waltz sasha waltz & guests ****.5 (19eyl)

milanoltre festival 2015, 29a edizione ... e la danza continua (21 eylül – 07 ekim, milano)
.au temps ou les arabes dansaient meddeb la compagnie de soi/radhouane el meddeb ****.5 (25eyl)
.complexe des genres brunelle compagnie virginie brunelle **** (22eyl)
.sopra di me il diluvio cosmi compagnia enzo cosimi ** (26eyl)

30th romaeuropa festival (23 eylül – 08 aralıki roma)
.schwanengesang schubert/castellucci societas rafaello sanzio ****.5 (08ksm)
.io, nessuno e polifemo dante/dante teatro biondo stabile di palermo ****.5 (07ksm)
.ode to the attempt martens *** (07ksm)

a corner in the world 
.the maids evazzadeh the counter institute *** (16ekm)

18. uluslararası istanbul kukla festivali (15-26 ekim)
.kişot bambalina teatre pracicable ***** (17ekm)
.eve giden kadın & benim bir adım var ruizendaal tavyan kukla tiyatrosu *.5 (24ekm)

20. istanbul tiyatro festivali (03 – 28 mayıs)
.hate radio rau/rau international institute of political murder ***** (15mys)
.d’apres une histoire vrai rizzo ccn de montpellier ***** (26-27mys)
.verborgen gezicht pamuk/arslan onderhetvel – t’arsenaal mechelen, platform 0090 ****.5 (07mys)
.dewelwillenden little-cassiers-jans/cassiers toneelhuis – toneelgroep amsterdam **** (06-07mys)
.büyükannem bir taş bostancı-oğultekin **** (09mys)
.godot’yu beklerken beckett-tekand/tekand studio oyuncuları ***.5 (03mys)
.the complete deaths shakespeare-crouch/crouch spymonkey ***.5 (24mys)
.zululuzu teodósio-jardim-mendes/penim teatro praga ***.5 (19mys)
.ân yula/yula *** (22mys)
.ham havayi sadri/mahian shieveh theater group ** (17mys)
.o/hâkkari’de bir mevsim edgü-çene-şişman-tuna/tuna-şişman sarı sandalye ** (05mys)
.en kötü iş tuna *.5 (20mys)
.e.mülteci.com ecer/ecer * (10mys)

2th pyka puppet festival (02-09 haziran, paris)
.leonce et lena büchner/callies cie le pilier des anges ***** (02hzr)
.happy bones solce/solce ***** (06hzr)
.spleen baudelaire/mannes figurentheater wilde & vogel **** (04hzr)
.du reve que fut ma vie trouve-berthou/gabillaud-lamy cie les anges au plafond **** (07hzr)

foreign affairs (05 – 17 temmuz, berlin)
.winterreise schubert-kentridge ***** (13tem)
.en avant, marche! platel-van laecke-prengels nt gent / les ballets c de la b ****.5 (6tem)
.ubu and the truth commision taylor-kentridge handspring puppet company ****.5 (13tem)
.guilty landscapes, episode II verhoeven ****.5 (13tem)
.refuse the hour kentridge ****.5 (09tem)
.drawing lessons I kentridge ****.5 (08tem)
.drawing lessons II kentridge ****.5 (08tem)
.drawing lessons III kentridge ****.5 (08tem)
.drawing lessons IV kentridge **** (09tem)
.drawing lessons V kentridge ***.5 (09tem)
.zvizdal baele-degryse-blisson berlin ***.5 (08tem)
.this is offal kelley **.5 (13tem)
.urban mermaid xaba * (13tem)

3 Eylül 2016 Cumartesi

2015-2016 müzik sezonu

(01 eylül 2015 - 31 ağustos 2016)

.s. bach, matthaeus passion: sunhae im – kristina hammarström – werner güra – sebastian kohlhepp – konstantin wolff – andre schuen – rene jacobs - rias kammerchor – akademie für alte music berlin ***** (21eyl, conservatorio sala verdi - milano)
.rudolf buchbinder - borusan istanbul filarmoni orkestrası ***** (07nsn, lütfi kırdar km)
.rudolf buchbinder - borusan istanbul filarmoni orkestrası ***** (06nsn, lütfi kırdar km)
.laszlo fenyoe – krzysztof penderecki - borusan istanbul filarmoni orkestrası ***** (21nsn, lütfi kırdar km)
.blixa bargeld – teho teardo ***** (13mys, zorlu psm - drama sahnesi)
.misia ***** (25mrt, crr ks)
.emerson string quartet ***** (09mrt, crr ks)
.a painted tale: nicholas phan – ann marie morgan – michael leopold ***** (29mrt, crr ks)
.jodie devos, caroline meng, le quatuor giardini ***** (06hzr, theatre des bouffes du nord - paris)
.elina garanca ***** (20ara, opera garnier  - paris)
.minimalist dream house: katia & marielle labeque – david chalmin – raphael seguinier – nicola tescari ***** (20ksm, borusan müzikevi)
.diana krall ***** (27ekm, zorlu psm)
.g.mahler, 5. senfoni: daniel harding, filarmonica della scala ***** (27eyl, teatro alla scala - milano)
.maxim vengerov, ayşen ulucan, ellen jewett, özcan ulucan, richard rozsa, birsen ulucan, romain guyot ***** (27ock, crr ks)
.g.hupperrtz, metropolis: frank strobe, filarmonica della scala ***** (20eyl, teatro degli arcimboldi - milano)
.helene grimaud – basel oda orkestrası ***** (19ock, işsanat)
.anna lucia richter - marianne crebassa - wiebke lehmkuhl - werner güra - christian immler – choeur de l’orchestre de paris – thomas hengelbrock – orchestre de paris ***** (17ara, philarmonie - paris)
.anne sofie von otter – thibault noally – les musiciens du louvre ***** (23şbt, işsanat)
.miguel poveda ***** (26şbt, işsanat)
.gidon kremer – katia buniatishvili – kremerata baltica ***** (05şbt, işsanat)
.leonard bernstein: anniversaries: sebastian knauer & jamie bernstein ***** (12ara, borusan müzikevi)
.patti smith ****.5 (23hzr, zorlu psm)
.band-o-neon, orquesta tipica de tango – bağdasar bayvertyan – luis cardenas ****.5 (26nsn, crr ks)
.maisky trio ****.5 (28nsn, crr ks)
.joshua bell ****.5 (15mys, zorlu psm)
.borusan quartet – band-o-neon, orquesta tipica de tango ****.5 (01şbt, süreyya operası)
.r.de simone: stabat mater: quartetto vocale gospel – fisarmoniche – mario nappi – maurizio agostini – orchestra, coro e coro di voci bianche del teatro di san carlo ****.5 (16eyl, teatro di san carlo - napoli)
.thindersticks **** (27mys, zorlu psm)
.norma: maria pia piscitelli – ekaterina gubanova – massimo giordano – dan paul dumitrescu – ana puche – ilker arcayürek – sascha goetzel – george enescu filarmoni korosu - borusan istanbul filarmoni orkestrası **** (12mys, lütfi kırdar km.)
.g.mahler, 2. senfoni: çiğdem soyarslan – elena zhidkova – wiener singakademie – sascha goetzel – borusan istanbul filarmoni orkestrası **** (14ock, lütfi kırdar km.)
.daniel müller-schott – baiba skride – lauma skride **** (08mrt, işsanat)
.sarah chang – sascha goetzel – borusan istanbul filarmoni orkestrası **** (22ekm, lütfi kırdar km.)
.walter rios quintet – mariel dupetit **** (27nsn, crr ks)
.katia & marielle labeque – gürer aykal - borusan istanbul filarmoni orkestrası **** (19ksm, lütfi kırdar km.)
.pascal contet & miguel chevalier **** (27ksm, borusan müzikevi)
.renaud garcia-fons & derya türkan **** (26ksm, babylon bomonti)
.alice coote – marc albrecht – nederlands philharmonish orkest **** (15ksm, concertgebouw -amsterdam)
.ensemble intercontemporain **** (06mrt, crr ks)
.sumi hwang, priit volmer, rolf bromann, martin tzonev, tamás tárjanyi - hendrik vestmann - stephan zilias - christopher sprenger - marco medved - beethoven orchester bonn **** (10tem, theater bonn - bonn)
.leyla gencer şan yarışması finali: deirdre angenent - dongho kim - marigona qerkezi - giovanni romeo - ayşe şenoğul - jonathan winell - hubert zapior - antonio pirolli - borusan istanbul filarmoni orkestrası ***.5 (11eyl, süreyya operası)
.ufuk & bahar dördüncü – sascha goetzel - borusan istanbul filarmoni orkestrası ***.5 (31mrt, lütfi kırdar km.)
.leyla gencer şan yarışması yarı finali ***.5 (09eyl, süreyya operası)
.kit armstrong – sascha goetzel - borusan istanbul filarmoni orkestrası ***.5 (14ara, lütfi kırdar km.)
.residenz solisten ** (25hzr, cuvillies-theater - münih)

 44. istanbul müzik festivali (01-24 haziran)
.patricia petibon – andrea marcon – venedik barok orkestrası ***** (20hzr,  aya irini)
.alexei volodin – tilbe saran – mert fırat ****.5 (10hzr,  st.antuan kilisesi)
.deniz küstü: michael ellison, simon jones, zeynep tanbay *** (11hzr-14:00, süreyya operası)

festival o/modernt , confidencen (10-15 haziran, stockholm)
.the harmonious blacksmith: evelyn glennie, daniel rowland, hugo ticciati, tamsin waley-cohen, gareth lubbe, julian arp, johan bridger, ksenia parkhatskaya ***** (12hzr, confidencen)

23 Temmuz 2016 Cumartesi

görsel şölen IV: berliner ensemble afişleri

dört yıldır her temmuzda geçen sezonda berliner ensemble'ın aylık flyer'larında kullandığı afişleri/grafikleri paylaşıyorum; her defasında tam bir görsel şölen!












5 Temmuz 2016 Salı

two works by peeping tom for ndt I: "the missing door” and “the lost room”

photo: danzon

atmosphere and inspirations
you come to the theater to see a dance or a dance theater piece, but it is impossible to define what goes on the stage as dance or dance theatre. yes, these two works contain parts with dance and also certain characteristics of dance theatre too. however, similar to other works or their creators which i had seen, it seems that, for them, rather than dance choreographies, it is more important to design a choreography to create a certain atmosphere on the stage. an atmosphere having the qualities which no one ever thought to create on stage before.

their inspiration is not a secret of course, especially the cinema of david lynch and all the things that those movies evoke: a mysterious, weird, surreal and nightmare-like atmosphere…
as for the content, i can associate it with ingmar bergman cinema: digging the relationships/problems in human relations, especially those in the family (between woman-man, parent-child, mother-son, mother-daughter, father-son) in such a way to hurt the parties…
in terms of stage aesthetics, firstly pina bausch and alain patel come to my mind…

in fact even only the names of the works give themselves away: "the missing door" and "the lost room".



beginning
a décor built in the emptiness of the stage: a room defined by its floor and two perpendicular walls. there are numerous doors and windows on the walls. one or two people sitting on the chairs in the empty spaces in two sides of the décor on the stage. some of the spotlights are placed in these areas and made a part of the atmosphere that was created on the stage: the ones that watch the scene on the stage and we, the audience, who watch both.

when we first encounter this stage under a darkish light when the curtain is raised, a light coming on and off from the pee hole of the door facing us is visibly seen; as if there is someone behind the door and looking at us from the hole. as one moves the light coming behind him/her goes off and reappears, just like when you look at the neighbor’s door when you are outside in the stair landing and think that there is no one home if there is light from the hole, but if there is a movement in the light you feel you are watched… this is the same situation, the same awkward feeling…
just like the name of the company who created these two works is “peeping tom” which means “watching/peeking” in slang, this work starts with a mise en scene that fully fits into their name.



illusions 
the doors open and close by themselves; a woman comes out of the man sitting on the couch; a man and pieces of paper scatter into the door which is opened by the wind; a built-in cabinet appears behind when the door, which had just opened to other space, is reopened; people who are lost in the bed; people who who come out of the bed; people who get lost in the side table; cabinets that keep lots of people who were stuck in them and fall out when the cabinet doors are opened; appliques that move along the walls on their own; wiping cloths escaping from the hands of their users and many more…

some protagonists only use décor doors when they go backstage (or maybe we should call this behind the décor) and come back to the stage (décor), while some of them freely pass from the side of the décor to go behind and to come afore. there should be a logic in stage traffic explaining when some of them use the décor and when some of them never use the décor. although i have watched the play for two times, i couldn’t figure this out because despite the small number of cast, the simultaneous movements of dancers on the stage are very intensive and intricate. numerous illusions take place simultaneously on the stage too…

mise en scene that distracts us, the audience, was especially designed to achieve these illusions. thus, it is quite difficult to follow, understand and interpret what’s going on the stage. even so, one thing is clear that they create such an atmosphere that it is impossible to remain unimpressed.




credits
what and whom am i talking about?
i am talking about the dance evening consisting of one work of two choreographer-dancers gabriela carrizo and franck chartier, the founders of belgian dance theater company “peeping tom”, whom i admire very much, prepared for netherlands dance theater (ndt1), one of the most prestigious dance groups of holland- and even of- the world.

first gabriela carrizo produces a 20-minute work for ndt in 2013 called “the missing door”, which had been staged in a triple program during 2013-14 season.
this time, ndt agrees with franck chartier for 2015-16 season. a program titled “start up” was prepared by matching chartier’s “the lost room” and carrizo’s work with “stop motion” of paul lightfoot and sol leon, general directors of ndt, which made a premier in 2014.
“start again” made a premiere on 1st october 2015 in den haag and had been on tour in several theaters of holland and belgium. i have caught it in amsterdam stadschouwburg performances in mid-november.



transition
in recent years, ndt organizes programs consisting of three short-term works; the rule of thumb is to give a break between each work. occasionally, if one of the works in the program is very short and stage-change isn’t complicated, they don’t give a break. by dimming the lights, they allow the audience to take a breath. carrizo and chartier’s works were subjected to a different procedure; they were connected to each other without giving a break with the most creative transition stage i have ever watched.

both works are set in a room, which, although look like each other in terms of their dimensions, differ in terms of wall and flooring materials and furniture. after carrizo’s work was completed the curtain falls, however it quickly opens again…
when it is open, we see that the dancers begin to change the stage. as a spotlight which sweeps the stage like a loose cannon falls on dancers, that dancer stops and salutes the audience and gets applauded. after the salutation of seven dancers which overlap with the light, the procedure of changing the scene continues.
stage-change in front of the audience, without concealment and technicians appearing during the performance are especially ordinary in pina bausch. this, in one sense, is one of her trademarks. however, the difference in carrizo and chartier’s mise en scene was that the décor was changed by the dancers in their costumes rather than the stage personnel. those who roll the carpet that complement the floor of the previous work and unravel the carpet of the next work, who remove the walls of the previous work and carry them backstage and install the walls for the next one, those who carry stage accessories and furniture to the stage are the dancers.

another oddity is that chartier’s work doesn’t start immediately after the décor is installed. in the new décor which looks like a hotel room, a housekeeper and a woman who is dressed up as a personnel manager checks the stage design. when the manager leaves the stage, the housekeeper takes out a drink from the fridge, picks a magazine from the table, sits on the bed and starts to enjoy herself. when the manager suddenly comes back to the room, the housekeeper hastily pulls herself together, checks the rooms once more, neatens the bed on which she sat and leaves the stage. just at that time the lights are dimmed, we hear the music which started the first work (that of carrizo’s) again. light percolates from the peeping hole of one of the doors like blinking. when stage lights are turned on again we understand that the new work actually starts when the door is opened and one of the protagonists enter inside.

by using the dancers as the protagonists, supporting individuals and stage technicians, by dividing the stage into two: the part with the décor and the part outside of it and by designing this transition mise en scene with a perfectly prepared choreography, carrizo and chartier astound, as the phrase goes, they perplex the audience in this indecisive world where they invite the audience.



challenge
the cast of the works that gabriela carrizo and franck chartier stage with their group “peeping tom” involves approximately six or seven people and not all of these artists are dancers. there are actors/actresses and singers among them.
another characteristic of this group is that there is no age limit for the performers, which include the ones at the age of 80 and the ones who are very young.
the dancers of peeping tom hold a very special place among dance groups in terms of the use of human body. the movements developed by carrizo and chartier, who are dancers as well, through their personal capabilities has no boundaries in terms of the shapes the body takes like complete convulsion, inversion of the body; twisting the arms and bewildering angles of feet especially through the tricks with wrists…

on the other hand, netherlands dance theater which is composed of young dancers thoroughly concentrated on neoclassical dance within the framework of the vision of paul lightfoot who has been the in-house choreographer of the group since 2002 and the general arts director of the group since 2011.
i believe that, for peeping tom, performing the eccentric body choreography which is specific to them with the dancers who mainly dance with neoclassical choreographies and, working with a more crowded and younger cast contrary to what they are accustomed to; and for ndt, offering works of a very different quality to their dancers and -more importantly- to the audience who are used to neoclassical works is a reciprocal defiance, of which, i think they come out smelling of roses.

while watching “the missing door” and “the lost room”, a world which even though i did not easily encounter on stage absorbed me for 70 minutes; i spent time there, i got lost, i got shivers and i was astounded.
when the work was over, i didn’t even want to get out of the seat feeling awestruck. madly applauses and reaction of the audience who sunk in their seats showed that i wasn’t the only one feeling that way…
 “start again” has completed its performances in 2015-2016 season. we’ll see if it will get invitations for international tours in coming seasons; i hope it does.

6 Haziran 2016 Pazartesi

"32 rue vandenbranden" by peeping tom



“peeping tom” is a group located in belgium, in which an argentinian and a french choreographer, gabriela carrizo and franck chartier collectively produce works. carrizo and chartier met while they were working for the famous belgian choreographer and orthopedic therapist alain platel. they gained recognition in europe especially with the triology consisting of le jardin (2001) – le salon (2004) – le sous sol (2007).

in addition to rewards they received with the trilogy, they continued to receive rewards successively and furthermore indulge into new collaborations. their last work “vader” received the best international dance work award of 2014 in barcelona, while their previous work “32 rue vandenbranden” received the best new dance work award in 2015 olivier awards. in may 2015 they produced a work named “the land” with the players of munich residenztheater which is one of the prestigious theater companies of germany. “the missing door” which was staged by carrizo in 2013 under the umbrella of ndt 1 which is one of the most important dance groups not only of holland but also of the world and, the new work of chartier which staged with the same dancers were included in the program of 2015-16 season of ndt1 to be performed successively the same night.

“peeping tom” must have been named after michael powell’s 1960 famous cult film which is about tension, murder and mostly peeping must have inspired carrizo and chartier in creating spooky mediums. of course being -in a sense-“peeped” by the audience is one of the most important tools affecting the mise en scene of the group. if one has to talk about cinema, setting aside powell’s film in “peeping tom”s works, there is in fact a significant influence of david lynch.

although i couldn’t watch the triology which brought them recognition, i am trying to catch their following works. i had the change to watch “a louer” in ludwigshafen germany in november 2013 and “32 rue vandenbranden” in leuven belgium in february last year.

in “32 rue vandenbranden”, carrizo and chartier continue to create disturbed characters who come to life in spooky atmospheres, to deal with hidden oddities in places which look real and to handle prodigiousness sometimes by emphasizing it or analyzing it in depth and to surprise and entertain the audience with situations, emotions and materials which are hard to come together.
confusion starts with the name of the work, it stands like an address in a settlement: “32 rue vandenbranden”: a street name and a house number.
before entering the hall, one thinks that the work can be set in a city, village or a town; but when you enter and see the design in the open stage, you experience your first shock:
an outdoor space covered with snow scattered to the first row of spectator seats; open as far as the eye can see, imperceptible mountain peaks in background, no tree; one caravan in each side; two red oblation candles in the back in the middle… as if you are on the top of a mountain.  a silent, desolate place; so what is this address then?

photo: herman sorgeloos

when the lights are dimmed we first hear the blow of the wind, then church bells, so there must be a town nearby… the lights of the caravans are on, movement starts. a long-haired, old woman is sitting in one of them… a pregnant  not-so-young women coming out of the caravan first sooths the baby with the head of an adult who is crying under -yes under- the caravan then pushes it back to the snow, under the caravan… a young couple is getting off the caravan; it seems that the woman wants to leave the man but she cannot; they entangle to each other, hit each other and then cuddle each other. they are the two halves of a part but they cannot fit together…
after a time, two man come behind the caravans from the side. one of them is on the back of the other and they are carrying luggage in their hands. it is clear that they had walked for a long time and freezing from cold… they are slant-eyed; they are surely strangers. well but what brought them here at the top of the mountain in this freezing cold? coincidence? bad luck? or is this the place they actually wanted to reach?

a young married couple; a not-so-young pregnant woman and her mother? (maybe her sister); two asians, two caravans and two oblation candles…



photo: herman sorgeloos


who is dead, who is alive, who is a djinn… who is good, who is evil… are the events expressed in a linear line or in zig zags… are they real, a dream or a nightmare… what kind of relationships are there between the protagonists? who is related to who… are we in this world or in after death… why are the protagonists this much weird and disturbed?
those who disappear and show up behind the doors… those who curl up their bodies like an elastic ghost that came out from cartoons… those who bend their arms, hands, feet and limbs… those who “float” in the air in a superhuman way… those who can be here and there at the same time; who turn into a bird and get aggressive and then suddenly turn into a human…





a selection of music which includes a woman who performs bellini’s casta diva and pink floyd’s “shine on you crazy diamond” alive at the same level of mastery; a far-eastern folk song and far-eastern pop song and which is not found odd…

in the brochure it says that the play was inspired by shohei imamura’s well-known 1983 film “the ballad of naramaya” film. however, thinking that i have seen that film, this play is related to that film only as a starting point. a story which doesn’t reveal itself easily, loosely woven with lots of emptiness…
perhaps there isn’t a clear-cut story; there are fragments that allow the audience to make up their own stories. and of course there is a great atmosphere… a dark atmosphere which doesn’t lack jokes and irony, which however has an intensive spookiness, uneasiness, loneliness and sadness…


peeping tom deserves to be followed…