Die Bonner Biennale zeigt ab Samstag türkische Kultur. Das Festival richtet den Blick auf das nah und doch so fern liegende „Brückenland“ zwischen Europa und Asien, dessen Kulturszene weitgehend Terra incognita ist.
Bonn – „Ein Pferd, ein Pferd, mein Königreich für ein Pferd!“ – so ruft der abgefeimte Bösewicht Richard III. in großer Bedrängnis. Dieses zum geflügelten Wort geadelte Shakespeare-Zitat aus dem Munde eines Geistes statt eines wortmächtigen Mimen zu hören – das hat was. Umso mehr, wenn der Geist – türkisch Dschinn – von einer hölzernen Puppe angeleitet wird. Wer eine Shakespeare-Aufführung der ganz anderen Art erleben möchte, dem sei am 18. und 19. Juni ein Besuch der Werkstatt an der Bonner Oper empfohlen.
Die freie Bühne „Tiyatrotem“ aus Istanbul vermengt in dem Stück „Die Katastrophe von Riçird III.“ klassisches türkisches Puppentheater mit klassischem abendländischen Theater. „Absolut faszinierend“, findet Steffen Koppetzky diese aparte Shakespeare-Bearbeitung, die der künstlerische Leiter der „Biennale Bonn: Bosporus“ unter die Highlights des umfassenden Kulturfestivals reiht, das am 14. Juni startet und bis 22. Juni mit 85 Veranstaltungen – Theater, Tanz, Literatur und Musik – das Kulturland Türkei vorstellt.
Nach New York und Indien richtet die Biennale nun den Blick auf das nah und doch so fern liegende „Brückenland“ zwischen Europa und Asien, dessen Kulturszene für uns weitgehend Terra incognita ist. Die Theaterszene ist auf die beiden Metropolen Ankara und insbesondere Istanbul fixiert, nur hier können sich freie Bühnenensembles entfalten. Die weite Provinz wird von dem umfassenden türkischen Staatstheater bespielt, das 13 Dependancen im Land unterhält. (…)
Kölnische Rundschau
Biennale in Bonn
Shakespeare vom Bosporus

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Die letzte Bonner Biennale blickt auf die Bühnen am Bosporus
Nach New York und Indien widmete sich die diesjährige Bonner Biennale der Türkei: ein Vorgeschmack auf die Frankfurter Buchmesse im Herbst, die sich ebenfalls mit der Türkei als Gastland befassen wird. Das deutsche Türkeibild auf den Kopf zu stellen – oder wenigstens zu erweitern –, waren türkische Künstler aller Sparten mit rund 80 Projekten an den Rhein gekommen: das türkische Staatstheater und das Staatsballett, unabhängige Theatergruppen, Schriftsteller, Musiker, Filmemacher und bildende Künstler.
Nicht der Blick auf die Strasse, Jugendkriminalität und Kopftuchdebatte interessierte die Biennale-Gestalter, sondern die Vielfalt einer Kultur, die kaum Schlagzeilen im deutschsprachigen Raum macht. Denn obwohl 2,5 Millionen Menschen mit türkischen Wurzeln in Deutschland leben, ist der kulturelle Facettenreichtum des Landes bei den Deutschen wenig bekannt. Gemeinsam mit Steffen Kopetzky und Elena Krüskemper hatte der Bonner Intendant Klaus Weise im Vorfeld die Türkei bereist und sich vor Ort für die Auswahl zum Biennale-Programm inspirieren lassen.
Der türkische Schriftsteller Zülfü Livaneli sprach im Eröffnungsvortrag über die spannungsreiche Gegenwart der Türkei zwischen Orient und Okzident, Säkularismus und der Verwurzelung im islamischen Glauben. Obwohl dringend notwendig, werde der Dialog zwischen den Gruppierungen immer dürftiger – eine Entwicklung, die Livaneli mit Sorge betrachtet. An besorgten Blicken in die Zukunft, dunklen Vorahnungen und apokalyptischen Visionen mangelte es auch nicht in den türkischen Bühnenstücken des Festivals. Die von Livaneli angesprochene Sprachlosigkeit formulierten eine Reihe der Biennale-Aufführungen.
(…)
Mord, Macht und Manipulation
Am Ende aller Verständigung sind auch die Figuren in «Die Katastrophe von Riçird III» (Riçird Faciasi) der Theatergruppe Tiyatrotem aus Istanbul angelangt: Ein Dialog findet nur mit den direkt angesprochenen Zuschauern statt. In der Tradition des öffentlichen Märchenerzählens des türkischen Volkstheaters wird die Geschichte von Richard III. frei nach Shakespeare erzählt. Fünf Dschinn, nach islamischer Auffassung intelligente Dämonen und Geister, spielen und kommentieren teilweise mit Hilfe einer Marionette aus Pappmaché die Geschichte des skrupellosen Königs. Die Dschinn bewegen sich wie Automaten, ihre Rollen sind so austauschbar, wie es auch die der Marionette ist. Ganz emotionsfrei wird die Geschichte um Mord, Macht und Manipulation so nachgestellt, als handle es sich um alltägliche Mechanismen.
(…)
Nachdem der Vorhang zum letzten türkischen Beitrag des Festivals gefallen ist, hat auch die in Bonn inzwischen lang etablierte Biennale, wie es derzeit aussieht, ihr Ende gefunden. Die Zuschüsse der Regierung, die der Stadt Bonn zum Ausgleich für den Umzug nach Berlin für den Kultur-Etat zur Verfügung gestellt wurden, laufen aus. Andere Geldgeber wären denkbar, aber die Bonner Kulturpolitik steht ganz im Zeichen Beethovens und des geplanten Festspielhauses. So wurde die Biennale sang- und klanglos verabschiedet. Was umso bedauerlicher ist, als das Festival nicht nur eine überaus erfolgreiche Institution weit über die Grenzen Bonns hinaus war. Die Biennale war auch ein Fenster zur Welt, das Bonns Image als Uno- und Kulturstadt am Rhein weiterhin gut zu Gesicht stünde. Der Bonner Intendant Klaus Weise will um den Erhalt der Biennale kämpfen – es ist zu hoffen, dass er dabei nicht auf verlorenem Posten steht.
Marion Löhndorf
Neue Zürcher Zeitung
23. Juni 2008,

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Vorstellungskritik

„Was passiert, wenn die Spielfiguren plötzlich die Welt außerhalb ihres traditionellen Schattentheaterrahmens entdecken (müssen)? tiyatrotem verarbeitet diese einfache Grundidee in „Böyle Devam Edemeyiz“ in einem furios-selbstkritischen Umgang mit türkischer Tradition und Sprache. Auffallend war der unerwartet starke rhythmische Aspekt der türkischen Sprache — bemerkenswert ist auch, dass etliche anwesende Kinder türkischer Herkunft ihren SchulkollegInnen gleich voller Stolz die Schlüsselszenen simultan über-setzten! Die beiden Protagonisten verließen, nachdem sie sich von ihren Gebieterinnen befreit hatten, ihre Schattenschirme, und zur Überraschung aller wurden aus den farbigen Flachfiguren schwarz-weiße Figuren, die die neuen Räumlichkeiten auf der Bühne in allen denkbaren Dimensionen untersuchen. Eine durchdachte Dramaturgie, die es auch ohne Sprachverständnis erlaubte, die Geschichte mitzuverfolgen.“

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From The Narrating Tradition To Contemporary Theatre

Common characteristics of traditional performance types in Turkey such as puppetry, ortaoyunu (improvisational theatre), meddah (storyteller), tekerleme (repartee) can be explained as creating and breaking illusions. Performances swing between reality and illusion. In his book “Drama, Melodrama and Perception”, Richard Hornby  names, act in seremony, act in act, role in role, referencing/pointing to other texts, life and the play itself as Metadrama. Elements that impair the reality of the play, belong to the limits of Metadrama. These applications do not only aim to point the fictitious part of the work but also mean to invite spectators to participate and to associate with the experience. Applications in puppetry, Karagöz, ortaoyunu (improvisational theatre), meddah ( storyteller) and tekerleme (repartee) point   that, story telling and afterwards folk theatre pratices swing between the habit of creating and breaking illusions  and that texts refere to themselves. Tiyatrotem set off on a journey, carrying out this rich but difficult heritage. Like its’ other plays Böyle Devam Edemeyiz – We Can’t Go On Like This –  have the characteristic marks of tekerleme (repartee), symmetry/repetition of events, situations and expressions, imitations, wrong pronounciation, pointing to the play, exiting role, role in role, act in act, alienation effects, irony and grotesk, which also belong to the narrating and performing traditions of the Turkish art. Böyle Devam Edemeyiz- We Can’t Go On Like This- is the tale of story telling and narrating becoming alive. In the heart of the play is the play itself and the pleasure of playing.

People of the shadow theatre are two dimensioned at and beyond the curtain but at the same time they are like puppets. Spectaters are once again alienated outside the place they belong to. This way, the demonstrator identity of the shadow theatre is doubled. These people seem grotesk outside their place. Familarities of them are deformed. Participation of the manipulaters to the performance with their bodies and mimics also, doubles the alienation effect. People of the play relate to the manipulaters in reality- illusion limits.

Böyle Devam Edemeyiz- We Can’t Go On Like This-, like the other works of Tiyatrotem, has the marks of  a posture that blends what belong to us during the historical process and it’s expression tools with modern anxieties.

Prof.Dr.Selda Öndül, Ankara University

 

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“Festival de Bonecos se encerra hoje…
Hoje é o ultimo dia para pirticipar da ediçao 2004 do Festival Espetacular do Teatro de Bonecos. Os turcos sao o destaque deste domingo, com a peça Böyle Devam Edemeyiz, que se traduz por Como Posso Continuar Assim. E a historia, contada com o teatro de sombras, de duas mulheres comilonas que vivem na terra do repolho com seus serviçais, obrigados a cozinhar ininterruptamente.(…)
Gazeta do Povo, Brasil
July 2004

 

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         This weekend, I’ve seen a very refreshing show. To tell you the truth, I’ve been searching for one for a while. There are indeed many shows around, but if you try to be selective, in other words, if you look for something thoughtful, meaningful and well done, you certainly will have a hard time finding what you want.

Fortunately, there are a few people who are bold enough to say “we can’t go on like this”. These few people are Şehsuvar Aktaş, Bilge Gulturk, and Ayşe Selen, whom we recognize from Bilsak Theater Workshop, and “Lahana Sarma” of tiyatrotem. Their new show is called “We Can’t Go On Like This”. On their program it says it is a puppet-shadow puppet play for an audience of all ages.

Waiting in the lobby before the show, I flipped through a few magazines. A quote by Federico Fellini struck my attention in the Roll Magazine. So says the master:

“My favorite part of a play is waiting in the lobby prior to the show. The atmosphere in the lobby, the ushers, greeting a couple acquaintances, the bells, the moment the curtain opens… However, as soon as someone comes on stage, or someone starts speaking, I feel a terrible urge to get out of there.”

            Is this a familiar feeling to you? What do you think was Fellini’s expectation that was not fulfilled? My thoughts wondered away thinking about these questions myself, and suddenly it was time for the show.

            I walked into the house among many children and their parents. As we took our seats, we realized there was a fidgety rush going on. The stage was a big mess, and the actors were trying hurriedly to clean up the place as they introduced themselves to us. When everything was ready, the lights went out and the play started. Right from the first moment, the border lines that Fellini talked about were blurred up.

            The play in fact contains two layers of events: One is the relationship between the two actors/puppeteers – Şehsuvar Aktaş and Ayşe Selen; the other is the life of their puppets. Tavtati and Dümteka are the names of two puppets that live in adjacent houses. They cook and clean and house-keep for two large ladies who are always hungry: Mrs. Large Appetite and Mrs. Eats Everything. One day, both ladies eat until they literally burst, and so Tavtati and Dümteka are set free. Celebrating their freedom, dancing to the groovy music, they leave their shadow curtains, and gradually get lost.

            The moment these colorful puppets step out onto the black table in between the two shadow curtains is really a magical one. They come out and become three dimensional, and the illusion gives you goose bumps. A little while later the puppets step down in front of the table, growing three times larger. Within their journey, they get lost; they lose each other, and they find themselves behind different curtains, each of which creates their own magical world. As the story progresses towards a chaos, the actors/puppeteers momentarily break our illusion by bringing their own conflicts into the play.

            All of a sudden there comes a storm. All the equipment come flying out leaving the stage in a big mess. This is the major breaking point. Those puppets so magical suddenly turn into lifeless cut out figures at the end of sticks. The audience is unexpectedly faced with  reality. Then comes the final twist; the puppeteers decide “they can’t go on like that”, and bring back the groovy music trying to find an ending to this chaos.

            There is so much though put into this play concerning the nature and function of theater and the theater artist. This play is for everyone – as they themselves put it. But it speaks best to older children and adults.

            The next show is on Sunday, January 19th at 4:00 pm, in Moda, at Oyun Atölyesi. For more information, please visit www.tiyatrotem.com

 

Aslı Mertan; January 6th, 2003;

Acik Radyo; Acik Perde.

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ASSITEJ EVALUATION

BURSA 8th INTERNATIONAL CHILDREN AND YOUTH THEATER FESTIVAL

 

            By the Association of Modern Drama, I was nominated to attend your festival in Bursa as an observer during October 9 – 11, 2003.  (…) In that time I had a chance to see the works of, the company from Russia; Tiyatrotem and Tiyatro Tiyatrosu from Istanbul; and Tiyatro Tempo from Ankara. (…) It was my first meeting with Şehsuvar and Ayşe of Tiyatrotem. At my entrance to the house to see their show, I was greeted with two energized “hosts” with fluttering hearts, who truly wanted to serve their guests well (and those were us). It was very pleasant to be greeted this way. In my perception, their play was a fairy tale. The fairy tale was made of humorous rigmaroles. My favorite parts in the show were seeing the shadow puppets leave the shadow curtain and become 3-D puppets, then change size through their travels. And the surprise was the explosion of the two fat ladies who ate too much. I watched thinking about children. I thought they would find such constituents fun and interesting. Even we, as adults, have laughed so.

            Their performance was very systematic and precise, yet they were enjoying themselves very much. I loved this manner they had. I’m sure the rehearsal process required much experimentation, took lots of time and was very hard work. The only thing that didn’t quite fulfill my expectations was the ending. The search of the two main characters did not reach a conclusion. The story should have achieved a stronger ending. Other than that, I enjoyed the show very much. I am happy to meet these two lovely people, and Bilge Gültürk, the third member of the company.
Meryem AKIN TEMİZ
Association of Modern Drama

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We Can’t Go On Like This

 

The annual international puppet theatre festival, hosted by the Lambert Puppet Theatre in Monkstown, has always been instructional as well as entertaining. Puppetry is a truly traditional form of stagecraft, and each country has its own form and style. The Turkish company Tiyatrotem bases its work on shadow theatre, popular improvisational theatre and storytelling.

The story is related by two storytellers/puppeteers, Sehsuvar Aktas and Ayse Selen, and is about two women who live at opposite ends of the land with their two servants. They hugely overeat, and keep their servants busy cooking to sate their endless appetites. Then one day they simply burst.

Thus freed, the servants begin, literally, to have a ball. But they leave their shadow screens and become lost in a world of circus and more.

Looking for their way home, they find other unfamiliar and menacing screens, even venturing out among the audience. But it all ends happily.

This is all conveyed with fun and transparency; even though the language used is Turkish, words are minimal.

The visual content is strong and easily absorbed. Although framed for adults, this show has a beguiling simplicity and charm that appeals to all ages.

Gerry Colgan

© The Irish Time

 

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Tiyatrotem was invited to International Incanti Festival in Turin, Italy, between September 26th and 30th  2003. The festival is held every year between Sept. 23rd – 30th; and this year was its 10th anniversary. The event is a “figure theater” festival where puppet and shadow puppet companies largely participate. Among the participants was also a Katakali group with their unique make-up techniques and costumes.

            Contro Luce Shadow Theater of Turin has been arranging the festival and undertaking its art direction for the past ten years. The festival intends to draw the attention of adult audience to figure theater which is usually assumed to be for children. In favor of this intention the most ancient forms of figure theater and its newest experiments are brought together. Even though the festival is not too extensional and includes less number of shows, it successfully attains its goal, regarding the diversity of the performances, and their audience being mostly adults.

            The shows take place mainly in two spaces where Contro Luce – the leading company of the festival – usually performs. The first once is a typical Italian Stage, Teatro Juvarra; and the second one is a club, Café Procope, where concerts and café-theater performances are held. We performed “Lahana Sarma” three times in Café Procope for adult audience, in Turkish. During the chats we had with the spectators right after the performance, we discovered that language was not a major barrier in understanding the play. We did say some of the most important phrases in Italian for an easier understanding, however, the rest never created a problem.

            To get a general idea of the festival you may visit www.extratorino.it and click Incanti under “archive”. For more detailed information please visit www.festivalincanti.it. You may also find the full program of the festival attached.

            We will never forget the performances we saw, the people we met, the food we ate and the Italian wine we drank.

(…)

            alle 22.30 il turco Tiyatrotem, presenta “Lahana Sarma”, ovvero “Il cavolo”, storia di una donna di famelico appetito: in scena, una conbinazione di teatro d’ombre e marionette. (…)

Silvia Francia

                                                                                              La Stampa

21 Settembre 2003

            (…)

            Airrivano anche la compagnia turca Tiyatrotem con la sua ricerca che fonde antico e moderno; (…)

                        Franca Cassine

Torinocronaca

23 Settembre 2003

            (…)

            Per festeggiare i dieci anni dell’originale rassegna, sono chiamate a raccolta le compagnia di grande tradizione marionettistica come la turca tiyatrotem… (…)

QuiTouring

Settembre 2003

(…) alle ricerca che unisce tradizione e novita del karaghoz (teatro d’ombre) turco della compagnia tiyatrotem (…)

ZeroNove Magazine

Settembre 2003