Possibilities for New Alternative Theater Movements in Germany
“The true ‘people’s theatre’ of ancient times was the mime, which received no subvention from the state, in consequence did not have to take instructions from above, and so worked out its artistic principles simply and solely from its own immediate experience with the audiences.” A. Hauser
The Post-migrant theater movement (PMT), a new understanding of theater, sought the new possibilities of rethinking theater in the context of the post-migration condition, and at the same time, questioned the hegemonic mainstream “German” theater discourse. By doing so, the movement aimed to turn the dominant discourse of hegemonic “German” theater down. PMT produced plays against the migration regime and racism was a cultural resistance that engendered a new aesthetics. Challenging the existing system and attempting to change the given discourse became an agent of discovering a new theatre language. This politically engaged movement with migration arose from the intersection of anti-racist activism and anti-racist dramaturgy of alternative theater in Germany. PMT movement considered the struggle against racist discourse as a core of its anti-racist attitude and became the voice of the silenced, racialized, and victimized people by letting them tell their stories on stage. This movement went beyond all kinds of an essentialist understanding of identity and produced a new political theater language that questions racism and power relations.
PMT has been an alternative theater movement created by non-German second and third-generation artists adding the experiences of immigrant and exile artists raised in revolt in the theater field to their own experiences.
This rebellion in theater and cultural resistance has left a much wider impact than its own footprints. This movement indicates an existing potential in the field. PMT is both an embodiment of and a response to the contradiction at the heart of German theater. PMT (keeping in mind that theater is one of the dimensions of the social field and cannot be isolated from other social interactions) is an alternative pathway created by the unleashing of existing potential for rebellion. The hegemonic German theater itself produced this potential for revolt. PMT is a specific and unique example of this potential, it is particular but not singular. Therefore, when considering the PMT, both the environment that caused this revolt and the potential that makes this revolt happen Today this rebellion has converted, perhaps have lost its power, but it has not disappeared. should be taken into account. This movement has transmogrified into different forms and turned into other forms of struggle that need to be examined. Besides that, this potential for rebellion is still alive and continues to exist.
Can today’s theater create radical off-movements in the here and now, as it always does in every location in every age? Could the German theater, dominated by the normative “German” culture/discourse, need this? What are the potentials of the PMT experience to contribute to the emergence of such an alternative theater movement?
Our intention is to discuss the migrant, post-migrant, and exilic fractures in the faultline of the ‘German’ theatre, and to mediate the transfer of the PMT experience and other theatrical experiences associated with this experience (such as migrant, diasporic, exilic, community theater, etc). We would like to review and examine the artistic / aesthetic / dramaturgical / political routes of these experiences in the context of their promises for tomorrow.
In discussing one of the burrs and cracks of the monolithic German theatre, we will use a series of pathways and proceed by taking these paths.
Migration, Culture, Trauma and Bridges
Traumas are open wounds. They don’t heal easily, otherwise, they wouldn’t be traumas. Discrimination is inevitable when collective trauma prevails. And discrimination becomes crueler when it is disguised. Discrimination follows the footsteps of trauma and affects all areas including art.
Culturally dynamic places are often crossroads. These intersections, where cultures of “the others” intersect, interact, interchange, and ultimately produce together, are places where new forms are formed and new stories are told. These cultural crossroads remind us that another story is always possible.
People change their places for reasons and forms specific to each period. Today, the form of mobility is mostly immigration, being refugees, and exiles. As a result of the crises created by capitalism, masses are displaced from their homes for various reasons or they move towards areas where they think they will live in safety and/or be less exploited. But, most of them crash to the boundaries and fall to pieces even more.
Today there are no more crossroads, there are more and more walls. The heart of art is in solidarity with the Oppressed, who can turn the borders they are stuck into crossroads/bridges.
Nation-state, Catastrophe and Collective memory
Nation-states need a “compulsory Other” in order to protect the produced borders. Consequently, nation-state models are inevitably traumatic, and trauma works bidirectionally. Those stigmatized as the “Other” as a result of migration movements that violate national borders are the most fragile of those. On the other hand, every trauma inevitably activates social memory. There is a collective memory accompanying every (collective) trauma. This memory is also vital for the preservation of social and personal integrity. Collective memory, on the other hand, is a field of resistance against all kinds of oppression established through othering. PMT operates with memory and trauma because it is a theatrical movement produced by a population accepted as the “Other” of a nation and beyond the imagination of the nation-states. There is a constitutive relationship between trauma (or conflict) and memory. Interpretation of PMT in relation to memory and trauma will make it simpler to understand. The effect of the trauma-memory relationship in the dramaturgical and aesthetic outcomes of PMT is also arousing curiosity.
Permanent Auschwitz and Cultural resistance
Adorno touched upon a very important point when he said that poetry could no longer be written after Auschwitz. This is not a “catastrophe” that poetry (art) as we know it can handle anymore. A new ‘poetry’ (art) is needed to describe this disaster. Subalterns who refined by this and similar new traumas should nail the last nail in the coffin of the theater. They need to make a new-u-r ‘theatre’ afterward and do it on their own. Because for the oppressed, there are no other means of expressing themselves and dialogue with the other. However, the third space of theater/art could make such contact possible. For the oppressed, ‘art’, especially ‘theatre’, is still vital!
Subalterns need to write their stories (or create a new theater language) without losing the critical perspective of being a “foreigner” to the society they live in. To understand their history in terms of other people’s history in order to beyond. They need to re-write their stories together with others, that is to say, the transformation of identity construction is a must. Subalterns need to change their conception of identity from a unitary viewpoint to the identity perspective that includes the other
Resistance and hope
Against all grief and trauma experienced, this is the land where the revolution once came knocking at the door and flourished the hopes. Despite all systematic erasure attempts, the main resistance codes that were transmitted through cultural memory must certainly have been inherited today. And there is also lots of resistance code carried by the new-u-r nomads of the era. Art is revolutionary as it could build bridges, and the theater is full of hope because of being a bridge, and to this respect, it is still irreplaceable.
Das postmigrantische Theater neu denken
Die postmigrantische Theaterbewegung (PMT), ein neues Theaterverständnis, suchte nach neuen Möglichkeiten, Theater im Kontext der Postmigrationsbedingung neu zu denken, und stellte gleichzeitig den hegemonialen Mainstream-“deutschen” Theaterdiskurs in Frage. Damit zielte die Bewegung darauf ab, den dominanten Diskurs des hegemonialen “deutschen” Theaters umzukehren. Die PMT produzierte Stücke gegen das Migrationsregime und den Rassismus als kulturellen Widerstand, der eine neue Ästhetik hervorbrachte. Die Infragestellung des bestehenden Systems und der Versuch, den gegebenen Diskurs zu verändern, wurde zu einem Mittel der Entdeckung einer neuen Theatersprache. Diese politisch engagierte Bewegung mit Migration entstand aus der Schnittmenge von antirassistischem Aktivismus und antirassistischer Dramaturgie des alternativen Theaters in Deutschland. Die PMT-Bewegung betrachtete den Kampf gegen den rassistischen Diskurs als einen Kern ihrer antirassistischen Haltung und wurde zur Stimme der zum Schweigen gebrachten, rassifizierten und viktimisierten Menschen, indem sie sie ihre Geschichten auf der Bühne erzählen ließ. Diese Bewegung ging über jede Art von essentialistischem Verständnis von Identität hinaus und brachte eine neue politische Theatersprache hervor, die Rassismus und Machtverhältnisse in Frage stellt.
PMT ist eine alternative Theaterbewegung, die von nicht-deutschen Künstlern der zweiten und dritten Generation ins Leben gerufen wurde, die die Erfahrungen von Immigranten und Exilkünstlern zu ihren eigenen Erfahrungen hinzufügen, indem sie ein Feuer der Rebellion im theatralen Feld entfachen.
Diese Rebellionsbewegung im theatralen Bereich hinterließ eine viel größere Wirkung als ihre eigenen Fußspuren. Diese Situation ist ein Indikator für ein Potential, das im theatralen Feld existiert. PMT ist sowohl eine Manifestation eines Widerspruchs, der im Herzen des deutschen Theaters eingebettet ist, als auch eine Antwort auf diesen Widerspruch. PMT (wenn man bedenkt, dass Theater eine Dimension der sozialen Sphäre ist und nicht von anderen sozialen Beziehungen isoliert werden kann) ist ein alternativer Weg, der durch die Entfesselung eines existierenden Potentials zur Rebellion geschaffen wird. Das hegemoniale deutsche Theater selbst produzierte dieses Rebellionspotential. Das PMT ist ein spezifisches und einzigartiges Beispiel für dieses Potential, es ist besonders, aber nicht singulär. Deshalb sollte bei der Betrachtung des PMT sowohl das Medium, das diese Rebellion entfachte, als auch das Potential, das dieses Feuer entfachen konnte, berücksichtigt werden. Heute hat sich diese Rebellion transformiert, hat vielleicht an Kraft verloren, ist aber nicht verschwunden. Sie hat sich in eine andere Form und andere Formen des Kampfes verwandelt, die es zu untersuchen gilt. Andererseits ist das Potenzial dieser Revolte immer noch lebendig und existiert immer noch.
Da Theater überall und in jedem Zeitalter stattfindet, kann das Theater von heute hier und jetzt radikale Off-Bewegungen schaffen? Könnte das deutsche Theater, das von der normativen “deutschen” Kultur / Diskurs dominiert wird, dies brauchen? Was sind die Möglichkeiten der PMT-Erfahrung für eine solche alternative Theaterbewegung?
Unsere Absicht ist es, die migrantischen, postmigrantischen, exilischen Brüche des Theaters in Deutschland diskutieren. Den Transfer der PMT-Erfahrung in das deutsche Theater und andere theatrale Erfahrungen, die mit dieser Erfahrung in Verbindung gebracht werden können (migrantisches, diasporisches, exilisches, Community-Theater etc.), zu leisten. Diese Erfahrungen zu bilanzieren und die künstlerischen/ästhetischen/dramaturgischen/politischen Wege im Kontext ihrer Verheißungen für morgen zu überprüfen und zu untersuchen.
Indem wir einen der Grate des glatten deutschen Theaters diskutieren, werden wir in eine Reihe von Wegen einschwenken und auf diesen Wegen weitergehen.
Migration, Kultur, Trauma und Brücken
Traumata sind offene Wunden. Sie heilen nicht einfach, sonst wären sie keine Traumata. Diskriminierung ist unvermeidlich, wenn kollektive Traumata vorherrschen. Und Diskriminierung wird noch grausamer, wenn sie verschleiert wird. Diskriminierung folgt den Fußstapfen des Traumas und betrifft alle Bereiche, auch die Kunst.
Kulturell dynamische Orte sind oft Kreuzungen. Diese Kreuzungen, an denen sich die Kulturen der “Anderen” kreuzen, interagieren, austauschen und schließlich gemeinsam produzieren, sind Orte, an denen neue Formen entstehen und neue Geschichten erzählt werden. Diese kulturellen Scheidewege erinnern daran, dass eine andere Geschichte immer möglich ist.
Menschen wechseln ihre Orte aus Gründen und Formen, die für jede Zeit spezifisch sind. Heute sind die Formen der Mobilität meist Einwanderung, Flüchtlingsdasein und Exil. Als Folge der vom Kapitalismus geschaffenen Krisen werden Massen aus verschiedenen Gründen aus ihrer Heimat vertrieben oder sie ziehen in Gebiete, in denen sie glauben, in Sicherheit zu leben und/oder weniger ausgebeutet zu werden. Aber die meisten von ihnen stoßen an die Grenzen und zerfallen noch mehr.
Heute gibt es keine Überschneidungen mehr, sondern nur noch Mauern. Das Herz der Kunst schlägt in den Solidaritätsgebieten der Unterdrückten, die die Grenzen, in die sie gepresst werden, in Kreuzungen / Brücken verwandeln können.
Nationalstaat, Katastrophe und kollektives Gedächtnis
Nationalstaaten brauchen ein notwendiges Anderes, um die Grenzen zu schützen, die sie produzieren. So sind nationalstaatliche Formen zwangsläufig traumatisch, und dieses Trauma wirkt in beide Richtungen. Diejenigen, die aufgrund von Migrationsbewegungen, die die Grenzen der Nation verletzen, als die Anderen stigmatisiert werden, sind am fragilsten. Andererseits aktiviert jedes Trauma unweigerlich das soziale Gedächtnis. Es gibt eine Erinnerung, die mit dem Schweißtrauma einhergeht. Dieses Gedächtnis ist auch für die Erhaltung der sozialen und persönlichen Integrität wichtig. Das soziale Gedächtnis wiederum ist ein Feld des Widerstands gegen jede Unterdrückung, die durch Marginalisierung entsteht. PMT arbeitet mit Erinnerung und Trauma, da es eine Theaterbewegung ist, die von einer Bevölkerung produziert wird, die als das Andere einer Nation gilt und nicht in die nationalstaatliche Vorstellung passt. Es gibt eine konstitutive Beziehung zwischen Trauma (oder Konflikt) und Erinnerung. Wenn wir die PMT in Bezug auf Erinnerung und Trauma untersuchen, wird es uns leichter fallen, sie zu verstehen. Der Beitrag der Trauma-Gedächtnis-Beziehung zu den dramaturgischen und ästhetischen Ergebnissen der PMT ist ebenfalls von Interesse.
Permanentes Auschwitz und kultureller Widerstand
Adorno macht einen sehr wichtigen Punkt, wenn er sagt, dass nach Auschwitz keine Poesie mehr geschrieben werden kann, dies ist keine “Katastrophe”, die die Poesie (Kunst), wie wir sie kennen, überwinden kann. Es braucht ein neues “Gedicht” (Kunst), das diese Katastrophe beschreiben kann. Die Unterdrückten, die aus diesem und ähnlichen neuen Traumata kommen, müssen wieder ein “Theater” machen, indem sie autonomy agieren. Denn die Unterdrückten haben keine andere Möglichkeit, sich auszudrücken und mit den anderen zu reden. Doch Kunst kann ein solches Thema möglich machen. ‘Kunst’, insbesondere ‘Theater’ ist für die Unterdrückten immer noch lebenswichtig!
Subalterne müssen ihre Geschichten schreiben (oder eine neue Theatersprache schaffen), ohne die kritische Perspektive des “Fremdseins” in der Gesellschaft, in der sie leben, zu verlieren. Sie müssen ihre Geschichte in Bezug auf die Geschichte der anderen verstehen, um darüber hinauszugehen. Sie müssen ihre Geschichte gemeinsam mit anderen neu schreiben, d.h. die Transformation der Identitätskonstruktion ist ein Muss. Subalterne müssen ihre Vorstellung von Identität von einer einheitlichen Sichtweise zu einer Identitätsperspektive verändern, die den anderen einschließt
Widerstand und Hoffnung
Gegen all den erlebten Schmerz und das Trauma sind dies die Länder, in denen die Revolution einmal an die Tür klopft und die Hoffnung blüht. Trotz all dieser systematischen Auslöschungsbemühungen gibt es sicherlich etwas, das im kulturellen Gedächtnis kodiert und in die Gegenwart übertragen wurde, und es gibt auch einen Weltwiderstandscode, der von den Nomaden der Zeit getragen wird. Kunst ist revolutionär, weil sie Brücken bauen kann, und Theater ist hoffnungsvoll, weil es eine Brücke ist, also immer noch unverzichtbar.
PARTICIPANTS
Dr. Azadeh Sharifi is currently a Guest Professor at the University of Fine Arts (UDK) Berlin. She is working on her second book (Post)migrant Theatre in German Theatre History—(Dis)Continuity of Aesthetics and Narratives. Her work engages with (post)colonial and (post)migrant Theatre history, performances by artists of color and the intersections of race and gender in contemporary European performances. Previously, she was a Researcher at the Department of Theatre Studies at LMU Munich and a Fellow at the International Research Center Interweaving Performance Cultures at Free University Berlin. She is a Board Member (Development Officer) of Performance Studies international (PSi) and co-editor of Interventions – Contemporary Theatre Review (CTR).
Dr. Lizzie Stewart is a Lecturer in Modern Languages, Culture and Society at King’s College London. Prior to this she also held positions at the Universities of Edinburgh, St Andrews, and Cambridge. Her research to date explores cultures of migration, with a focus on theatre and performance. She has published extensively on postmigrant theatre and was co-editor of the Oxford German Studies special issue on Emine Sevgi Özdamar in 2016. She is currently a core researcher on the project “Violence Elsewhere: Imagining Violence Outside Germany since 1945”, where she explores the ways in which the act of locating violence ‘elsewhere’ is variously employed, denied, and narrativized in a context where one in four residents of Germany have a background of post-war migration. Lizzie’s book Performing New German Realities: Turkish-German Scripts of Postmigration is due out with Palgrave in July 2021.
As well as a theatre director, Memet Ali Alabora is a recognised Turkish actor in theatre, TV and cinema. He was one of the founders of garajistanbul, a contemporary performing arts institution in Istanbul. He is one of the founders of Actors’ Union of Turkey and served as the first president until 2014.
He had to leave Turkey in 2013 after his involvement in the Gezi Park protests in Istanbul.
The play he directed was accused by government officials and pro-government media of being the “rehearsal” for and him being one of the architects of the protests. The resulting smear campaign forced him to leave the country. Alabora is one of 16 human rights activists who is being charged with life imprisonment without parole in the Gezi trial.
He moved to Wales in 2013. He directed plays and toured across Wales many times. He also continues to work as an actor for TV and films.
In 2018 he founded b a k, a creative agency and he is the Creative Director of the company. Pandemic has changed his life. A series of online gatherings inspired him and his partners to develop dedicated software. He is the co-founder of ‘video gathering platform’ gather-in.
Hadi Khanjanpour kam während des Iran-Irak-Krieges in Teheran zur Welt, flüchtete mit seiner Familie nach Deutschland. Dort begann er nach seinem Zivildienst ein Sport-Informatikstudium und wechselte dann auf die Akademie für darstellende Kunst Baden-Württemberg um Schauspiel und Theater zu studieren. Schon während und verstärkt nach seinem Studium, ging er einige Gastengements ein und begann Stücke zu schreiben und zu inszenieren. Seine künstlerische Heimat fand er am postmigrantischen Theater “theaterperipherie Frankfurt”, wo er mit überwiegend jungen, migrantischen Darstellern Stücke schrieb und inszenierte. In den letzten Jahren agierte er vermehrt als Schauspieler vor die Kamera der deutschen Filmlandschaft.
Emre Akalc lebt als Autor und Regisseur in München. Seine Arbeiten, die sich an der Schnittstelle von Choreografie, Installation und Bildkomposition bewegen, waren u.a. am Stadttheater Bakirköy in Istanbul, an den Münchner Kammerspielen, am Maxim Gorki Theater in Berlin und der freien Szene in München, Stuttgart und Wien zu sehen. Für sein Stück Ostwind erhielt er 2015 den Tanz- und Theaterpreis der Stadt Stuttgart, für den Theatertext Hotel Pink Lulu – Die Ersatzwelt 2020 den exil-DramatikerInnenpreis der Wiener Wortstätten. Als Regisseur wurde er 2020 mit dem Förderpreis für Theater der Stadt München ausgezeichnet. Gemeinsam mit 86 weiteren Künstler:innen aus ganz Deutschland initiierte er 2019 das Ayşe X Staatstheater als mögliches Modell eines Theaters der Zukunft. Aktuell ist er als Artist in Residence an den Münchner Kammerspielen.
Sheri Avraham ist Künstlerin, Kuratorin und Theatermacherin. In ihrem künstlerischen Prozess und den entstehenden Arbeiten übersetzt sie zwischen Theorie und Praxis, zwischen Klassen, Religionen, Geografien und Generationen. Seit 2020 arbeitet sie als Co-Kuratorin bei D/Arts, Projektbüro für Diversität und urbanen Dialog. Als Vorstandsmitglied der Interessengemeinschaft Bildende Kunst setzt sie sich für die
Verbesserung der Arbeitssituation von bildenden Künsterler:innen ein. Da Geld hier immer eine zentrale Rolle spielt arbeitet sie gemeinsam mit der TirolerKünstler:innenschaft an der Realisierung von Fair Pay – Entlohnungen für Bildende Künstler:innen.
Deniz Başar is a theatre researcher, puppet maker and two-time national award-winning playwright from Turkey. In 2014, she received one of the most acclaimed playwriting awards in Turkey (Mitos-Boyut theatre publishing agency’s annual contest) for her play The Itch, which was published in the award winning collection of that year. She lived and worked in Canada between August 2014 and December 2020, and during this time she took part in multiple productions in Toronto and Montreal as a dramaturge, puppet maker and playwright. In these years she was awarded grants and residencies for her plays like Genius to the Other and Wine and Halva. In 2016, she won the Derbent Playwriting Contest, which was a collaboration project between Iranian and Turkish independent theatre artists, with her play In the Destructible Flow of a Vast Monolithic Moment, and her play was translated into Persian. This play was later performed as a stage reading in the 2019 Revolution They Wrote Feminist Theatre Festival in Montreal. Parts of her research were included in anthologies like Palgrave Handbook of Theatre and Race
2021), and Women and Puppetry: Critical and Historical Investigations by Routledge (2019). She recently finished her PhD in Concordia University’s Humanities Department with her work on contemporary Turkish theatre, entitled “A Dismissed Heritage: Contemporary Performance in Turkey Defined through Karagöz”. Currently she is an FRQSC post-doctoral fellow, and continuing her research projects in Istanbul.
Photo Credit: Halime Aktürk
Antigone Akgün (*1993 in Frankfurt/Main) is a freelance performer, author and dramaturge. She studied theater, film and media studies, classical archaeology, Greek philology and philosophy at the Goethe University (Frankfurt/Main) and a master’s degree in dramaturgy at the Hessian Theater Academy. Prior to that she trained as an actor in Greece.
As a performer she was and is active, among others with the Scottish artist* duo Rosana Cade and Laurie Brown, as well as in works by Martina Droste, Prodromos Tsinikoris, Boris Nikitin, Sebastian Mauksch, the performance collective tausend||eins frankfurt and at the Mladinsko Theatre in Ljubljana.
In 2013 she was a scholarship holder at the Ancient Greek Drama School in Epidaurus. Since 2014 she is a member of the European Network for Research and Documentation of Performances of Ancient Greek Drama. Since 2017, she has been a juror at the Berliner Festspiele’s Theatertreffen der Jugend and writes in various capacities for the editorial staff of the Berliner Festspiele’s national competitions. 2019 fellow of the Theatertreffen Blog / Berliner Festspiele.
In addition, dramaturgical collaborations, including. for Ulrich Rasche (“Die Perser” / Salzburg Festival 2018), Hannah Schassner (“Kleine Leute” Theaterperipherie Frankfurt am Main 2019), as well as text composition for Julia Wissert’s production “2069 – Das Ende der Anderen” / Schauspielhaus Bochum 2019 (invited to the Heidelberger Stückemarkt 2020) and authorship for “NATHAN” (Theater Regensburg 2020), as well as for the production “CHÖRE DES SPEKULATIVEN” (director: Sebastian Blasius / Uferstudios Berlin 2020). In 2021 she is a fellow of the Hans-Gratzer-Scholarship (Schauspielhaus Wien), writes for the PATHOS Munich in the project “The Beauties and the beasts – Penpal” and is author of the commissioned work “body*” at the Stadtensemble of the NTMannheim. She also develops performative discourse formats that target structural changes and diversification of cultural and art institutions.
Maíra Wiener is a dramaturge, performer and theater maker with a bachelor’s and teaching degree in theater (UDESC-BR) and a master’s study in Comparative Dramaturgy and Performance Research (Goethe University Frankfurt/Hessian Theater Academy & Université Libre de Bruxelles). She was a founding member to the groups Sujeito Coletivo Cênico and Coletivo Urucubaca, with which she worked between 2012 and 2016 in Florianópolis, developing plays and performances. Currently her main focus are participative art projects in rural areas. Since 2019 she lives in Graben-Neudorf, where she develops artistic research and socially engaged performances. Her relationship to art in rural spaces began in 2015, when she led performative projects in the small town of Garopaba, Brazil, where she partly grew up. Since 2020 she has also been working with the project “Matchbox”, which invites international artists to rural areas in the Rhine-Neckar region to develop artistic pr ojects of all disciplines in collaboration with local communities.
Markus Kubesch ist wissenschaftlicher Mitarbeiter im Mercator Graduiertenkolleg Weltoffenheit, Toleranz und Gemeinsinn an der Universität Duisburg-Essen. Nach einem Regie-Studium an der Universität Mozarteum Salzburg folgten Regiearbeiten in Deutschland, Österreich und Schweiz. Seit
2016 ist Markus Kubesch als Theaterpädagoge tätig. In seinem Promotionsprojekt untersucht er partizipative Praktiken in Probenprozessen mit Kindern und Jugendlichen.
Seçkin Söylemez, wissenschaftlicher Mitarbeiter am Institut für Politikwissenschaft der Universität Duisburg-Essen und Lehrbeauftragter der Eberhard-Karls-Universität Tübingen, promoviert am Gerhard Mercator Graduiertenkollegs für Weltoffenheit zum Demokratieverständnis Türkeistämmiger
in Deutschland. Zu seinen Forschungsschwerpunkten zählen neben dem Themenfeld Migration und Integration, poststrukturalistische Theorien und diskursanalytische Forschungsmethoden. Veröffentlicht regelmäßig zu Themen der Selbst- und Fremdwahrnehmung im Kontext der Migrationsgesellschaft.
Yaël Koutouan
Studium
WS 14/15 bis SoSe 2016 Lehramtsstudium an der Humboldtuniversität zu Berlin Fächer: Französisch und Ev. Theologie – WS 16/17 bis SoSe 2019 Bachelorstudium an der Johannes Gutenberg-Universität Mainz Fächer: Theater- und Buchwissenschaften 09/2019 – Abschluss: Theaterwissenschaft BA seit 10/2019 wissenschaftliche Hilfskraft bei Univ.-Prof. Dr. Friedemann Kreude,Theaterwissenschaft Johannes Gutenberg-
Universität Mainz – seit SoSe 2020 Masterstudium an der Johannes Gutenberg-Universität Mainz Fach: Theaterwissenschaft – Stipendium/Auszeichnung
02/2020 Auszeichnung für die Anfertigung einer herausragenden Abschlussarbeit im Fach Theaterwissenschaft
seit 07/2020 Stipendiatin der Friedrich-Ebert-Stiftung –
Ehrenamtliches Engagement seit 07/2017 Unterstützung des Begegnungscafés „caféfamilia“ bei DAKO e.V., Köln – seit 10/2020 Engagement bei der stipendiatischen Antidiskriminierungsstelle der Friedrich-Ebert-Stiftung
Assistenzen
06/2017 bis 02/2018 Regieassistenz bei KreativRaum e.V. in der Produktion „Du sollst den Wald nicht vor dem Hasen loben“ von Jörn Klare, Köln – seit 01/2019 Dramaturgieassistenz bei KreativRaum e.V. in der Eigenproduktion „Vom Huhn zum Adler“, Köln – 11/2019 bis 05/2020 Projektassistenz in der Theaterpädagogik, Schauspiel Köln
Aktuelle Projekte
seit 02/2021 Mitglied des Aktionstheaterkollektivs YABASTA, Schauspiel Köln – seit 04/2021 Mitarbeit beim „Set the Stage“ Mentoring-Programm, JGU Mainz – seit 05/2021 Mitarbeit bei der studentischen Gruppe „Decolonize the University“, JGU Mainz
Celil Toksöz, 1960 Diyarbakır. 1993 yılında Amsterdam tiyatro okulundan tiyatro yönetmeni ve tiyatro eğitmeni olarak mezun oldu. Sanat eğitimi dalında master yaptı.
2000 yılına kadar bağımsızyönetmen ve eğitmen olarak çalıştıktan sonra 2000 yılınd a Gert de Boer ve Şaban OL ile birlikte Theater Rast’ ı kurdu. Traji-komik tarz ve müzik yönettiği oyunlarda belirleyici bir yer oluşturur. Çok sayıda yönettiği oyunlardan bir kaçı: Antigone, Medea, jeannne d’Arc, ( Hollanda’ca) ‘Dilek’ bir halk operası, Ahmed Arif şiirlerinden oluşan ‘Bir şair Bir şehir’, yazan Vedat Çetin. (Türkçe) . ‘Hamlet’ ve ‘Tosca’ ( Kürtçe) olarak 50 yi aşkın oyun yönetti. Oyunları Hollanda,Almanya,İsveç ve Türkiye’de sahnelendi.
BERABER araştırma, çalışma ve yazma grubu / Kritik Kolektif, tiyatro eleştirisi alanınde üreten yazar, sanatçı, akademisyenleri beraber düşünme, tartışma üzere bir araya getiriyor. Tiyatro ve performans sanatları eleştirisi, performatif ve deneysel yazın üzerine çalışan Beraber katılımcıları çalışma takvimi boyunca bu konudaki üretimlerini birbirleriyle tartışmaya açıyor. Katılımcıların eleştiri, görüş ve yorumlarıyla herkes üzerinde çalıştığı eleştirel yazını geliştirmeye çalışıyor. Beraber, Türkiye’nin farklı şehirlerinden ve farklı ülkelerden 10 katılımcıdan oluşuyor. Çevrimiçi ortamda buluşan katılımcılar haftada bir gün bir araya geliyor. Beraber, bireysel ve kolektif çalışma grupları etrafında üretimlerine devam ediyor.
Alperen Kartal – Deniz Başar – Eylem Ejder – Duygu Çelik – Handan Salta – Gülden Ateş – Meral Harmancı – Zeynep Kızılgöl – Zeynep Baykal.
Jan Philipp Stange, born in Hamburg in 1987, lives and works in Frankfurt am Main as a director, author, dramaturg and curator. He studied literature, philosophy, directing and theater studies in Hamburg and Frankfurt. Since 2014 he has staged ~15 works between theater and performance for instance at the Thalia Theater Hamburg, Schauspielhaus Wien, Mousonturm Frankfurt, Schauspielhaus Hamburg and Deutsches Theater Göttingen. He has been part of the studioNAXOS team in Frankfurt since 2014, and has been managing director with Simon Möllendorf since 2019.
Lisa Deniz Preugschat hat einen BA in Politikwissenschaften und Soziologie und ihren MA in Diversität und Inklusion mit einer Arbeit über postmigrantisches Theater abgeschlossen. 2015 begann sie zunächst als Darstellerin und übernahm dann u.a. Aufgaben als Dramaturgin und Regisseurin bei theaterperipherie. Seit 2017 ist sie Teil des Leitungsteams von theaterperipherie, das sich als postmigrantisches Theater begreift und sich insbesondere an Menschen richtet, die bislang kaum oder keine Erfahrung mit dem Medium Theater haben. Schwerpunkte liegen auf der Thematisierung von Machtverhältnissen und unterschiedlichen Ausgrenzungsmechanismen. Themen und Formen, die in der Theaterlandschaft meist keinen Platz finden, werden auf der Bühne realisiert. Dabei arbeitet theaterperipherie unter professionellen Rahmenbedingungen, mit sogenannten Laiendarsteller:innen und inzwischen teils auch mit professionellen Schauspieler:innen. Die Stücke richten sich an alle Altersgruppen, insbesondere aber an junges Publikum, denen der Weg ins Theater geöffnet werden soll.
Tülay Yongacı
Vorsitzende des Vereins, Sängerin und Schauspielerin von Günesli Sarkilar und des Günes Theaters. Sie studierte Schauspiel und Theaterwissen- schaft an der Dokuz Eylül Üniversitesi, Akademie für Darstellende Künste, in Izmir. Ausbildungen absolvierte sie in Artistik, Tanz und Theaterpädagogik und Schauspiel.
Müjdat Albak
- Geboren 1967 in Izmir / Türkei
- Grundstudium der Elektrotechnik an der Fachhochschule in Istanbul Universität.
- 1986-1989 Studium an der Dokuz Eylül Universität in Izmir Türkei Theaterschauspiel.
- 1991-1995 Studium an der Universität Ankara Türkei Theaterwissenschaften.
- Mitarbeit in verschiedenen freien Schauspielensembles (u. a. Tiyatro Norm, Ankara Birlik Tiyatrosu) sowie am Staatstheater Izmir.
- 1991 Gründungsmitglied der Theatergruppe Cansenligi.
- 1991-1996 Aktiv als Regisseur in der Theatergruppe Cansenligi
- Regie von Werken wie “HÜR“,“UMUT“,“ANTIGONE“
- Regie eigener Arbeiten, u. a. als Straßentheater
- 1991-1996 Tätigkeit als Lehrkraft bei Amateurtheatergemeinschaften,
Seminare und praktische Übungen über das
“Anatolisches Theater“, “Theatergeschichte“,
“Workshop über Schauspielerei“
- Seit 1995 Mitbegründer und Herausgeber der Theaterzeitschrift “Agon”.
- Seit 1998 Leben in Deutschland und Gründer der freien Theatergruppe „Ferae“.
- 1996 – 2005 Organisation von Theatertourneen durch verschiedene europäische Lander (Frankreich, Niederlanden, Belgien, Österreich, Deutschland, Schweiz).
- 1998-2000 Redaktion eines Kulturprogramms bei “Radio X”, Frankfurt am Main.
- Seit 2002 Regie und Schauspiel beim Güneş Theater, hier bspw.
- “Nazım Hikmet Bu Yürek-Testament“.
- 2002 Vorsitzender des Vereins zur Förderung Interkultureller Kunst, Kommunikation und Bildung, ora da! e. V., Frankfurt am Main.
- 2002 Regie des dreisprachigen Theaterstücks „Krieger“ (Ordinary War, Savascilar)
- 2001- 2007 Organisation und Durchführung diverser Kultur-, Kunst- und Bildungsprojekte bei ora da! e. V.
- 2005 Gründer der „Jungen Theatertage“, Frankfurt am Main.
Dr. Özgür Çiçek is a film scholar and researcher who is currently based in Berlin. Her research interests include national/transnational cinemas, ‘minor’ cinemas, memory studies, documentary filmmaking, and new digital film and television culture in Turkey. For her current post-doctoral project she investigates Kurdish filmmaking in Germany.
Bengi Heval Öz
1973 doğumlu. 2019 yılında Dokuz Eylül Üniversitesi Güzel Sanatlar Enstitüsü Sahne Sanatları Anasanat Dalı Bölümünden mezun oldu. 1997 yılında Ankara Üniversitesi Dil Tarih ve Coğrafya Fakültesi Tiyatro Bölümü Oyunculuk Ana Sanat Dalından Mezun oldu. Uzun yıllar İstanbul Devlet Tiyatrosu, Kocaeli Şehir Tiyatrosu ve birçok özel tiyatroda oyunculuk, yönetmenlik ve kendi kurduğu Tiyato Z’de tiyatro yöneticiliği yaptı. Ulusal ve Uluslararası pek çok tiyatro festivalinde oyuncu yönetmen, yazar, reji asistanı, prodüksiyon alanlarında görev aldı. 2008 yılında basılmış bir uyarlama oyunu bulunmakta. Philoctetes / Bir Medeniyet Entrikası oyunu Mitos Boyut Yayınevi tarafından basıldı. 2009 yılında Lions Tiyatro Ödülleri Direklerarası Halk Jürisi, Küçük Salon En İyi Kadın Oyuncu Ödülünü aldıktan bir sene sonra oyunculuğu tamamen bıraktı ve alanında öğretmen olarak çalışmaya ağırlık verdi (Küçük Genny Efsanesi- Tiyatro Z). 2018 yılında Direklerarası Seyirci Ödülleri, En İyi Yönetmen ödülünü aldı (Saat Onda Sevgilim, Fabrika Oyuncuları). Yayımlanmış bir makalesi bulunmakta. (Öz, B , Belkıs, Ö . (2017). Türkiye’de Alternatif Tiyatro Yapılanmalarında Kadın Liderliği Ve Bir Örnek: Yeşim Özsoy – GalataPerform. Uluslararası Disiplinlerarası ve Kültürlerarası Sanat, 2 (2), 1-22. http://dergipark.org.tr/ijiia/issue/33743/373748). Hayatta en çok dağları ve kızını sever
bengioz@gmail.com
İrem Aydın is a freelance theater director, writer, and community organizer based in Berlin. She studied Spanish Language and Literature at Istanbul University and attended the Master Programme Theater Creation at University Carlos III de Madrid in Spain. Her professional experience mainly focuses on directing plays, organization of events and workshops, communication, creative tasks and planning, moderation, and the issues of LGBTQI*, immigration, diversity, inclusion, and equity.
Selin İşcan is co-founder of Theatre Hayal Perdesi, artistic director and actress. Iscan, the famous Turkish actress, has been a member of Istanbul Metropolitan Municipality Theatres, since 2002. She took part in other theatres and TV series. Famous roles include Anna in “Old Times” by H. Pinter, Madame de Tourvel “Dangerous Liaisons” by Choderlos De Laclos, Miranda “The Collector” by John Fowles, Nina “Seagle” by Chekhov, Titania and Hippolyta in “A Midsummer Night’s Dream” by Shakespeare. She took part in Opole Theatre in Istanbul International Theatre Festival. She won the best actress for “Dangerous Liaisons” in 2004, for Medea in 2011, in Bediha Muvahhit Awards, for The Empire Builders in 2015 in New Theater Journal Awards. She is the co-founder and artistic director of Theatre Hayal Perdesi, since 2012, acting as Schmürz in The Empire Builders.
Zinnure Türe was born in Germany in 1981. After her undergraduate education at Yıldız Technical University in the department of Urban and Regional Planning, she got a masters’ degree from Kadir Has University Film and Drama Program, department of Acting (2011). She acted in Internationale Theaterwerkstatt (Germany), Festival Premieres (Germany), Festival Theatreformen (Germany), Dancing on the Edge Festival (Nederlands), Heidelberger Stückemarkt (Germany), Aradafestival (Austria), A Corner in the World Festival and Istanbul Theatre Festival. She starred in the feature film “Tuzdan Kaide/ The Pillar of Salt” at the 68th Berlin Film Festival and took part in the competition of the Istanbul, Ankara and Adana film festivals. In 2018, she wrote and directed the play “Ara / Zwischenraum” as part of the guest artist program at the Heidelberg Theater in Heidelberg, Germany. In addition to, “ProjeDifüzyon” which she established in 2016, she continues to work with many other institutions as an actor, director and author. In addition, she teaches storytelling, physical expression techniques, and acting.
Ivana Pilić ist freie Kuratorin und Kulturwissenschaftlerin. In ihrer
kuratorisch-forschenden Praxis beschäftigt sie sich mit kollaborativen Formaten, Narrativen und Ästhetiken einer heterogenen Gesellschaftt. Derzeit promoviert sie an der interuniversitären Einrichtung Wissenschaft und Kunst an der Universität Salzburg und am Mozarteum zu „diskriminierungskritischen Kunstpraxen“. Seit 2020 ist sie
Co-Kuratorin des Kunstprojekts D/Arts – Projektbüro für Diversität und urbanen Dialog. Davor war sie Co-Kuratorin des urbanize! Internationales Festival für urbane Erkundungen 2018 und von 2014-2017 im künstlerischen Leitungsteam der Brunnenpassage Wien. Sie ist Obfrau der WIENWOCHE – Festival for Art and Activism und Jurymitglied von “Tandem Diversität” der Kulturstiftung Pro Helvetia/CH.
Onur Hamilton Karaoglu works between performance art and theater. Since 2010, his original and adapted writing and directing pieces were presented at spaces like garajistanbul, bomontiada Alt, Roxy, Heidelberg Theater and Rotterdam Schouwburg. His installations and video works were presented at Bahar (Sharjah Biennial 2017), SPOT, Operation Room and Artnivo. He is one of the founding members of Studio 4 Istanbul that is producing theater, film works and performance space KÖŞE in Yeldeğirmeni which then turned into an international performance festival. Between 2014-2019 he worked as the director of Orhan Pamuk’s Museum Of Innocence in Istanbul. Karaoglu teaches a class dealing with the link between performance art and theater at Boğaziçi since 2013. He received BA in Sociology at Boğaziçi University and MFA in Theater Directing at Columbia University in New York.
Instagram: @onurkaraoglu
Eylem Ejder, İstanbul Üniversitesi Fizik Bölümü ve Ankara Üniversitesi Tiyatro Bölümü’nde lisans eğitimi aldı. İstanbul Üniversitesi Tiyatro Eleştirmenliği ve Dramaturji Bölümü’nde Hölderlin, Heidegger ve Hegel’in tragedya düşünceleri üzerine yüksek lisansını tamamladıktan sonra Ankara Üniversitesi Tiyatro Bölümü’nde doktora eğitimine başladı. Oslo Üniversitesi ve Harvard Üniversitesi’nde misafir araştırmacı programlarına katıldı. Eylem Ejder, tiyatro eleştirisini kolektif, sanatsal ve siyasal bir pratik olarak yeniden düşünmek üzere kurulan Kritik Kolektif eleştiri inisiyatifinin ve açık mektupları şarkılara dönüştüren Şarkılara Mektuplar söz-müzik oluşumunun kurucularındandır. Tiyatro ve performans sanatı üzerine yazıları European Stages, Critical Stages, Arab Stages, Platform, Monograf, Artism gibi uluslararası dergilerde yayımlanıyor. Çalışmaları 2000 sonrası Türkiye tiyatrosu üzerine yoğunlaşan ve bu dönemde sahnesel pratiklerde açığa çıkan nostalji, teatrallik ve ütopya aracılığıyla sahnenin duygu yüklü dramaturgisini ön plana çıkarmayı hedefleyen Ejder, “geri dönüşüm dramaturgileri” adını verdiği bir modelle bugünün sahne sanatlarına yönelik bir poetikanın izini sürüyor.
Mîrza Metîn di sala 1980yî de li devera Serhedê ya Bakurê Kurdistanê, li Qaqizmana Qersê ji dayîk bû û li Stembolê mezin bû. Bi xwe ji sala 1995an û vir ve ye xerîkî berhemhênana şanoyî ye. Wî di Teatra Jiyana Nûyê û Seyrî Meselê de perwerdeya şanoyê girt û di lîstikan de lîst. Di Konserwatiwara Zankoya Teknîkî ya Stembolê (İTÜ) Beşa Dansên Gelêrî de sê salan xwend, di pey re Zankoya Stembolê, Beşa Rexnegirîya Şanoyê û Dramatûrcîyê, Şaxa Zanista Nivîskarîya Dramatîk kuta kir. Di sala 2008an de tevî Berfîn Zenderlîoxlûyê wî Şermola Performans damezirand (2008). Metîn di warê nivîskarîyê, derhênerîyê û ekterîyê de ji alîyê gelek sazîyan ve hate perrûkirin. Mîrza Metînê ku berhemên xwe bi Kurdî dinivîse, heta niha 17 heb şanoname nivîsîne û 15 ji wan ji alîyê wî bi xwe ve û ji alîyê derhênerên cîyawaz ve hatine bisehnekirin. Hin şanonameyên wî hatine wergerandin bo zimanên wek Zazakî, Almanî, Îngilîzî, Fransizî, Macarî û Tirkî. Herwiha li ser Şanoya Kurdî xebatên lêkolînî dike. Ev sê sal e li Almanyayê dimîne û di 2018an de li wir ofîsa Şermola Performansê damezirandî ye. Mîrza Metîn nivîskarê kitêbên bi navê Reşê Şevê (li gel Berfîn Zenderlîoxlû), Jêrzemîn/Şanoya li Jêrzemînê, Lîstikên Tomerî 1, Ziwsichenhalt, Gottes Gewalter Leichnam (li gel Volker Lüdecke, Wajiha Said û Katharina Schlender), û Gravité ye.
He was born in Kars in North Kurdistan in 1980 and grew up in Istanbul. Mirza has been involved with theatre since 1995. He trained as an actor with Teatra Jiyana Nû and Seyr-î Mesel and has performed in numerous stage productions. He studied dance and music for three years at the Istanbul Technical University State Conservatory Department of Folk Dance and went on to graduate from the Istanbul University Department of Dramaturgy and Dramatic Criticism. He founded Şermola Performans with Berfin Zenderlioğlu in 2008. He has won many awards and nominations for the plays he has written, directed and performed in for Şermola Performans. He writes his work in Kurdish. Of the seventeen plays he has written to date, fifteen have been staged either by himself or by other directors. A number of his plays have been translated into Zaza, German, English, French, Hungarian and Turkish. He also conducts research on Kurdish Theater. He lives in Germany for three years and established Şermola Performans’s Germany office in 2018. He is the co-author, with Berfin Zenderlioğlu, of ‘Reşê Şevê’, and the author of ‘Jêrzemîn’ (‘Underground Kurdish Theatre’), ‘Lîstikên Tomerî 1’ (‘Collected Plays I’), Ziwsichenhalt, Gottes Gewalter Leichnam (with Volker Lüdecke, Wajiha Said and Katharina Schlender) and Gravité.
Şanonûs û derhêner / playwright, director
Şirîk û derhênerê hunerî yê Şermola Performansê
Şermola Performans, artistic director
Kordînatorê Beşa Zimanê Kurdî ya Eurodramê (Tora Ewrûpayê ya Wergera Dramayê)
Eurodram (European Network for Drama in Translation), Kurdish language coordinator
Hevderhênerê Neksûsê (Kombenda Şanogerên Kurd û Alman)
Nexus (Kurdish-German Theatre Network), founder & co-director
Avakar û Edîtorê DÎALOGê (Portala bi kurdî yê şano, dans û performansê)
DÎALOG – (Portal in Kurdish for theater, dance and performance), founder & editor
Yunus Can Ersoy, in Zürich geboren und aufgewachsen, ist Performer*in, Regisseur*in und Dramaturg*in. Nach dem BA in Germanistik, Geschichte der Neuzeit und Allgemeiner und Vergleichender Literaturwissenschaft, studierte Yunus im MA an der Universität Zürich (Kulturanalyse) und am Institut für Angewandte Theaterwissenschaft in Gießen.
2009 war Yunus Gründungsmitglied von »oimoi – junges theater zürich«, in dessen Vorstand Yunus heute ist. Seit 2009 hat Yunus in über 10 oimoi-Produktionen auf und hinter der Bühne mitgewirkt. oimoi-Stücke von Yunus (Text, Regie, Projektleitung) wurden u.a. im Theater Rigiblick, Zürich gezeigt. Am Schauspielhaus Zürich wirkte Yunus u.A. in Sprechchören mit.
Yunus organisiert Festivals (u.a. DISKURS 2018) und gastierte mit eigenen Arbeiten bisher u.a. mit dem Kollektiv Mora Vegesture am Künstlerhaus Mousonturm, mit Camila Rhodi am FACT-Festival in Budapest und mit Josef Mehling bei 48h Neukölln in Berlin (2019). 2020 zeigten Jil Dreyer, Yunus Ersoy, Josef Mehling die Theater-Performance None of This beim Grätsche Festival in Zürich.
Nach einer Hospitanz im Studio Я, assistierte Yunus seit Mitte der Spielzeit 2018/19 in der Dramaturgie am Maxim Gorki Theater in Berlin. Seit Mitte der Spielzeit 2020/21 ist Yunus Dramaturg*in am Gorki und arbeitet unter anderem mit den Regisseuren Hakan Savaş Mican und Paul Spittler.
Yunus Can Ersoy, born and raised in Zurich, is a performer, director and dramaturg. After receiving their BA in German language and literature, history and comparative literature, they continued their studies in the master’s programmes at the University of Zurich (cultural analysis) and the Institute for Applied Theatre Studies in Gießen, Germany.
In 2009 Ersoy was a founding member of oimoi – junges theater zürich, and today they are a member of the board. Since 2009 they have participated in over 10 oimoi productions, both on and backstage. oimoi plays by Ersoy (as author, director, project manager) have been shown in various venues, including the Theater Rigiblick in Zurich. At the Schauspielhaus Zürich, Ersoy appeared in spoken choruses, among other projects.
Ersoy organises festivals (DISKURS 2018, among others) und their works have toured to a variety of venues, including the Künstlerhaus Mousonturm with Kollektiv Mora Vegesture, FACT-Festival in Budapest with Camila Rhodi and 48h Neukölln in Berlin with Josef Mehling (2019). In 2020 Jil Dreyer, Ersoy and Mehling presented a performance titled »None of This« at the Grätsche Festival in Zurich.
Following their internship at Studio Я, Ersoy has been an assistant dramaturg at Maxim Gorki Theatre in Berlin since the middle of the 2018/19 season (NSU-Protokolle (dramaturg), Androiden aus Mitteldeutschland (dramaturg), Bananenkind (dramaturg), Rich, White, Straight series (dramaturg), Berlin Oranienplatz (assistant dramaturg), Beute (dramaturg)).
Bilal Akar is a Ph.D. candidate at Boğaziçi University Ataturk Institute for Modern Turkish History. He
holds a Master of Comparative Studies in History and Society from Koç University. The title of the MA
thesis is “Transformation of Kurdish Theater Field in Turkey 1991 – 2017”.
He has experience as a teaching assistant and coordinator of international projects at several NGOs.
He has also worked as an actor and a playwright. He is one of the founding members of Culture and
Theater Research Association (Cultheater).
His recent study focuses on statelessness, fragmentation of Kurdish diaspora, identity construction,
and representation of Kurdishness through theater in the European diaspora. The research aims to
make a comparative analysis of Kurdish Theater fields in different countries which engages with
several interwoven theoretical literatures, where the most significant ones are materiality, political
economy, Bourdieusian field analysis, and diasporic art studies in a postcolonial context.
Tuncay Acar Der gebürtige Münchner (* 22.08.68) lebt als Deutscher mit türkischem Background zwischenMünchen und Istanbul. In Istanbul begann er sein Studium der klassischen Archäologie, das er in München abschloss. Unter dem Künstlernamen “Blash” gehört er zur ersten Riege der Graffitipioniere in Europa. Als Kulturaktivist, Netzwerker, Veranstalter, Blogger, Dj und Musikerbewegt er sich in beiden Welten. Tuncay Acar ist Vorstandsmitglied des Glockenbachwerkstatt e.V. (www.glockenbachwerkstatt.de). Er war als Mitorganisator in das Kulturprojekt hofHaus Weicht (www.hofhaus.de) involviert und leitete zusammen mit Michael Schild von 2010 bis 2015 den Veranstaltungsort Import Export (www.import-export.cc) zunächst in der Goethestraße 30 und danach im Kreativquartier in München. Seit 2016 ist Tuncay Acar im Real München e.V. (Verein für Kulturelle Vielfalt – www.real-muenchen.de) alsVorstandsvorsitzender aktiv. Unter www.triptown.de ist seit 2011 sein eigener Blog online.Als Dj Süperfly betreibt er die Veranstaltungsreihe Eksotik Meksotik (https://www.mixcloud.com/sueperfly/) und als Musiker beschäftigt er sich mit seinen Bandprojekten “Süperfly Orkestra” und “Lucile And The Rakibuam” mit Psychedelica und Electronica aus den Regionen östlich und südlich von Europa.
Şinasi Dikmen ist ein deutscher Schriftsteller und Kabarettist türkisch-tscherkessischer Abstammung. Zusammen mit Muhsin Omurca gründete er 1986 das erste deutsch-türkische Kabarett Knobi-Bonbon.
Danach war er an noch weiteren Kabarett-Gründungen beteiligt, z. B. an der Gründung der KÄS in Frankfurt am Main, welches das erste deutsch-türkische Kabarett mit fester Spielstätte in Deutschland war.
Zunächst hatte sich Dikmen, der Ende der 1970er Jahre Hospitant am Ulmer Theater war, wo er unter anderem in Botho Strauß Groß und klein auch schauspielerte, als Buchautor und satirischer Schriftsteller betätigt, lernte allerdings 1983 und 1984 durch Gastauftritte in der Fernsehsendung Scheibenwischer mit Dieter Hildebrandt und in der Münchner Lach- und Schießgesellschaft den Reiz des öffentlichen Auftritts als Kabarettist kennen, wie er auch die größere Publikumswirksamkeit eigener Texte in der kleinkünstlerischen Aufführung erkannte („Die visuelle Kunst hat mehr Wirkung als das Lesen“). Diese Erkenntnis führte letztlich 1986 zur Gründung des ersten Kabaretts türkischstämmiger Migranten Knobi-Bonbon, an der auch der Theaterregisseur Ralf Milde beteiligt war. Das Thema der türkischen Integration in Deutschland steckt bereits in Kabarett-Titeln wie Vorsicht, frisch integriert (1985) oder Du sollst nicht türken! von 1997.
Von Dikmen, der seit 1972 in Deutschland lebt, erschienen bis heute mehrere Bücher mit Satiren, z. B. Hurra, ich lebe in Deutschland (1995), Wir werden das Knoblauchkind schon schaukeln (1983) oder Integrier Dich, Opa! (2008). Außerdem schreibt Dikmen Glossen für diverse Zeitungen und Zeitschriften.
Als Schriftsteller gilt er für die Entwicklung der deutschsprachigen Literatur der türkischen Minderheit in Deutschland insofern als bedeutend, weil von ihm die ersten Veröffentlichungen stammen, die dem Bereich der Satire zuzuordnen sind.
Zu seinen selteneren umfangreicheren Auftritten im Fernsehen in den letzten Jahren gehörte die Teilnahme an der Jubiläumssendung Der Ultimative Religions–Check der ARD-Sendung Horizonte (2012).
Dikmen ist Mitglied des PEN-Zentrums Deutschland.
Ali Köken was born in Afyon in 1967. He moved to Germany after completing his high school education and studied theater. Köken worked as an actor and director in many theaters and did research on the Traditional Turkish Theater. He wrote more than 30 plays. He is the only master puppeteer of Karagöz in Europe. He organized Karagöz days at the Bremen Museum of Overseas Cultures and granted the many Karagöz figures to the museum. He presented the storytelling performances in Germany. His plays and poems have been published in many magazines and newspapers. He continues his acting and master puppeteer career. In Germany, he is the only Karagöz master performing in German. He works as theater director and master of Karagöz at the Kulturbunker theater in Mülheim, Cologne.
Dr. Ömer Alkin, media and cultural scholar, is currently project leader of the research project ‘Aesthetics of Occidentalism’ which is hosted by the Institute for Media Studies at Philipps University Marburg, and funded by the German Research Foundation. In addition to his academic activities, he is active in the field of filmmaking and intercultural education. His publications revolve around issues such as film, migration, racism, Islam and audiovisual culture, global identity politics such as occidentalism and postmigration. Upcoming books: with Lena Geuer “Postcolonialism and Postmigration” (Unrast Verlag).
Inga Bendukat ist eine weiß positionierte Theaterwissenschaftlerin und freie Dramaturgin. Nach einem Studium der Germanistik und der Theaterwissenschaft in Leipzig und einem Master in Dramaturgie an der Goethe Universität in Frankfurt, war sie u.a. als freie Dramaturgin für das Nordwind Festival 2017 in Berlin tätig und hat eigene Performancearbeiten entwickelt. Bis Ende Februar war sie als wissenschaftliche Mitarbeiterin am Institut für Theater-, Film- und Medienwissenschaft an der Goethe Universität beschäftigt. Zurzeit arbeitet Inga Bendukat an ihrer Dissertation. Aus einer queerfeministischen Forschungsperspektive beschäftigt sie sich mit Fragen zu Alterität, zu einem Theater der Entunterwerfung, Solidarität und Vergemeinschaftung sowie mit Widerstandstrategien im urbanen Raum. Seit März 2021 erhält sie ein Stipendium von Ad Infinitum an der Goethe Universität in Frankfurt am Main.
Dr. Gurur Ertem is a sociologist, dancer, and performance studies scholar. She is currently a Research Fellow of the Alexander von Humboldt Foundation, Freie Universität (Berlin), and teaches at the Mimar Sinan University of Fine Arts (Department of Dance) and Boğaziçi University (Department of Sociology). Ertem’s trans-disciplinary work combines the arts, social, and political theory in particular dialogue with Hannah Arendt scholarship. She is the recipient of Akademie Schloss Solitude and the Institute for Critical Social Inquiry Fellowships. Ertem has served as a jury member for the German Dance Platform 2020 and the International Coproduction Program of the Goethe Institute. Ertem curated the iDANS Festival for Contemporary Dance and Performance (Istanbul, 2006-2014). Her recent publications include Bodies of Evidence: Ethics, Aesthetics and Politics of Movement (Passagen, 2018), co-edited with Sandra Noeth.
Ebru Nihan Celkan Şişli Terakki Lisesi’ni bitirdikten sonra lisans eğitimini Uludağ Üniversitesi Çalışma Ekonomisi ve Endüstri İlişkileri bölümünde, yüksek lisansını İstanbul Üniversitesi
Pazarlama bölümünde tamamladı. 2004 yılında Volvo İş Makinalarında çalışmaya başladı. 2016 yılına kadar Volvo’da satış
destek uzmanı, pazarlama uzmanı ve altı yıl süresince Pazarlama, CRM ve Satış Destek Müdürü olarak görev yaptı.
Aynı zamanda oyun yazarı olan Ebru Nihan Celkan’ın Tetikçi, 17.31, Tilt, Kabuklu Sürprizli Hayvanlar, Nerde Kalmıştık?, Kimsenin Ölmediği Bir Günün Ertesiydi, Evim! Güzel Evim!,
Babil, Benimle Gelir Misin? oyunları İstanbul’un farklı tiyatrolarında sahnelenmiştir. 2017 yılında Maxim Gorki Tiyatrosu ve Oyun Yazarlığı için Yeni Enstitü (NIDS) tarafından
projelendirilen KIF (Krieg Im Frieden – Parça Parça Savaş) için dünya genelinden seçilen 4 oyun yazarından biri oldu.
2017 yılında Maxim Gorki Tiyatrosu ve Oyun Yazarlığı için Yeni Enstitü (NIDS) tarafından projelendirilen KIF (Krieg Im Frieden – Parça Parça Savaş) için dünya genelinden seçilen dört
oyun yazarından biri oldu. Bu proje kapsamında “Benimle Gelir Misin?” isimli oyununu kaleme aldı. KIF (Krieg Im Frieden – Parça Parça Savaş) Projesi kapsamında yazdığı “Benimle Gelir misin?” isimli oyunu Stuttgart Şehir Tiyatrosu’nda “Last Park Standing” adıyla Ekim 2019’da prömiyer yapmıştır.
Ebru Nihan Celkan 2019 yılında Akademie Schloss Solitude – Stuttgart tarafından her yıl beş kişiye sağlanan çalışmalarında in yaratıcılarına sunulan Jean-Jacques Rousseau bursuna hak kazanmıştır. Stuttgart’da bulunduğu sürede “Tarihle Etkileşim” festivali kapsamında Anlatılmamış
Hikayeler: Toplumsal Cinsiyet ve Hafıza Yürüyüşleri projesini tasarladı ve hayata geçirdi.
Ebru Nihan Celkan 2020 yılında Stuttgart – Ludwigsburg Şehri yazarlık bursuna hak kazanmıştır. Bu burs kapsamında Kültürel Çeşitlilik ve Toplumsal Cinsiyet’i merkeze alan “Der Weltschmerz” metnini yazdı.
2016 yılında Y+O’yu kurdu. Y+O toplumsal cinsiyet eşitliği, kültürel çeşitlilik, etik, adil ve yaratıcı yönetim gibi konularda atölye içerikleri üretmektedir. Atölye içerikleri oyunlaştırma
yöntemiyle bilinçaltı kaynaklı tutumların değişimini hedeflerken değişimin teoriden pratiğe geçişini sağlamaktadır.
TÜSİAD, Mercedes-Benz Türk, Vodafone, Koç Holding, Zorlu Holding, Sabancı Üniversitesi Toplumsal Cinsiyet ve Kadın Çalışmaları Mükemmeliyet Merkezi, UNFPA, UN Global
Compact, Coca-Cola İçecek, Coca-Cola Türkiye, Allianz Türkiye, Türkiye Eğitim Gönüllüleri Vakfı kurumlarına Toplumsal Cinsiyet Eşitliği ve Kültürel Çeşitlilik alanlarında eğitim, danışmanlık ve politika geliştirme hizmeti vermektedir. İstanbul’da ve Berlin’de ikamet eden Celkan, Türkiye, Almanya, Avusturya, Kafkas ülkeleri, Orta Doğu ve Kuzey Afrika’da farklı şehirlerinde tiyatro ve Toplumsal Cinsiyet Eşitliği, Kültürel Çeşitlilik ve Dahil Edici Yaklaşım çalışmalarını insanlarla paylaşmaya devam etmektedir.
https://www.gorki.de/en/company/ebru-nihan-celkan
Tuncay Kulaoğlu
Yekta Arman
Cihan Kente
Kazın Calışgan
Schedule
May 27, 2021 11:00 – 11:55 REVIVAL (Room 1)
Konferenzpräsentationen: Lasst uns über postmigrantisches Theater sprechen! [GERMAN_DEUTSCHE]
Konferenzpräsentationen: Lasst uns über postmigrantisches Theater sprechen! [GERMAN_DEUTSCHE] Inga Bendukat (phd Dramaturgy) “Baumhaus an der Mauer” Ivana Pilic & Sheri Avraham (d-arts.at) “Let’s talk about us – Inszenierungsstrategien einer heterogenen Gesellschaft [AT]” Yaël Koutouan (Theatrology University of Mainz) “Theater jenseits des White Gaze” Seçkin Söylemez & Markus Kubesch (phd University of Duisburg) “Zwei Schritte vor, […]
- Inga Bendukat (phd Dramaturgy)
“Baumhaus an der Mauer”- Ivana Pilic & Sheri Avraham (d-arts.at)
“Let’s talk about us – Inszenierungsstrategien einer heterogenen Gesellschaft [AT]”- Yaël Koutouan (Theatrology University of Mainz)
“Theater jenseits des White Gaze”- Seçkin Söylemez & Markus Kubesch (phd University of Duisburg)
“Zwei Schritte vor, ein Schritt zurück – Zur performativen Selbstreflexion des Postmigrantischen Theaters”May 27, 2021 11:45 – 12:45 REVIVAL (Room 1)
Let’s talk about post-migrant theatre! [ENGLISH_ENGLISCH]
Maíra Wiener (Master Dramaturgy Frankfurt) “Post-migrant theater in rural areas? Thoughts on chances and challenges” Antigone Akgün (MA – HTA) “Theater of Speechlessness? Who speaks – what he*she speaks – how he*she speaks determines who hears – what he*she hears – how he*she hears.” REVIVAL (Room 1)
- Maíra Wiener (Master Dramaturgy Frankfurt)
“Post-migrant theater in rural areas? Thoughts on chances and challenges”- Antigone Akgün (MA – HTA)
“Theater of Speechlessness? Who speaks – what he*she speaks – how he*she speaks determines who hears – what he*she hears – how he*she hears.”May 27, 2021 13:00 – 14:30 UTOPIA (Room2)
Möglichkeiten der postmigrantischen Theatererfahrung für eine neue alternative Theaterbewegung [GERMAN_DEUTSCHE]
“Möglichkeiten der postmigrantischen Theatererfahrung für eine neue alternative Theaterbewegung“
- Emre Akal
- Tuncay Acar
- Tuncay Kulaoğlu
- Yunus Can Ersoy
May 27, 2021 15:00 – 15:40 REVIVAL (Room 1)
Reflections on Postmigrant Cinema Culture [ENGLISH_ENGLISCH]
- Dr. Ömer Alkin
“Reflections on Postmigrant Cinema Culture”May 27, 2021 15:45 – 16:05 UTOPIA (Room2)
Contingency, (Dis-)Continuity and the history of postmigrant theatre [ENGLISH_ENGLISCH]
- Dr. Azadeh Sharifi [KEYNOTE SPEAKER]
“Contingency, (Dis-)Continuity and the history of postmigrant theatre”May 27, 2021 16:05 – 16:35 UTOPIA (Room2)
Postmigrant Theatre and the Mobilization of Memory: Engaging with Armenian life and death from location Berlin [ENGLISH_ENGLISCH]
- Dr. Lizzie Stewart
“Postmigrant Theatre and the Mobilization of Memory: Engaging with Armenian life and death from location Berlin”May 27, 2021 16:35 – 17:05 UTOPIA (Room2)
Resistance, Intervention and the making of History [ENGLISH_ENGLISCH]
- Dr. Azadeh Sharifi
“Resistance, Intervention and the making of History”May 27, 2021 17:00 – 18:00 REVIVAL (Room 1)
Migrantische, postmigrantische, exilische Reflexionen des Theaters in Hessen [GERMAN_DEUTSCHE]
“Migrantische, postmigrantische, exilische Reflexionen des Theaters in Hessen“
- Hadi Khanjanpour
- Jan Philipp Stange
May 28, 2021 11:00 – 01:45 CANCELED
Migration, Exile, and Artistic Mobility [ENGLISH_ENGLISCH]
- Dr. Gurur Ertem
“Migration, Exile, and Artistic Mobility”May 28, 2021 12:02 – 12:45 UTOPIA (Room2)
Post-migrant cinema: Kurdish post migrant experiences revealed through film [ENGLISH_ENGLISCH]
- Dr. Özgür Çiçek
“Post-migrant cinema: Kurdish post migrant experiences revealed through film”May 28, 2021 13:00 – 14:22 REVIVAL (Room 1)
Almanya’da tiyatronun migrant, post-migrant, exilic kırılmları [TURKISH_TÜRKÇE]
“Almanya’da tiyatronun migrant, post-migrant, exilic kırılmları“
- Cihan Kente
- Kazim Calisgan
- Yekta Arman
May 28, 2021 14:30 – 15:45 UTOPIA (Room2)
Migrantische, postmigrantische, exilische Reflexionen des Theaters in Hessen-II [GERMAN_DEUTSCHE]
“Migrantische, postmigrantische, exilische Reflexionen des Theaters in Hessen“
- Lisa Deniz Preugschat
- Müjdat Albak
- Tülay Yongacı
May 28, 2021 16:00 – 16:45 REVIVAL (Room 1)
Türkiye’den Hollanda’ya Göç Sonrası Tiyatro Hareketi [TURKISH_TÜRKÇE]
- Bengi Heval Öz
“Türkiye’den Hollanda’ya Göç Sonrası Tiyatro Hareketi Sözlü Tarih Araştırması”Türkiye kökenli tiyatro örneklerine sadece yerinde değil, ülke coğrafyası dışında kalan yerlerde de rastlamak mümkündür. Buna örnek olarak; 1980 sonrası Hollanda sanat etkinlikleri içinde Türkiye göçmeni sanatçıların da içinde olduğu tiyatro hareketi dikkat çekicidir. 1960’lı yıllardan itibaren Türkiye’den, özellikle Almanya, Hollanda ve Fransa’ya işçi göçü nedeniyle Batı Avrupa ülkelerinde Türk nüfusu artmıştır. Göç sırasında kendi kültürlerini de beraberinde getiren işçi toplulukları içinden özellikle Hollanda’da yaşayanların tiyatro çalışmaları yaptığı görülür. Hollanda’da yaşayan Türkiye göçmenlerinin tiyatrosu özellikle 1980’den başlayarak Batı kültürü ile etkileşime geçerek bir noktadan başka bir noktaya doğru ivme kazanır. Araştırmanın kapsamı 1980-2018 yılları arasında Hollanda’nın Amsterdam kentinde Türkiye’den göç edenlerin tiyatro çalışmalarıdır. Türk tiyatro insanı Vasıf Öngören ’in vefat etmeden önceki son iki yılını (1982-1984) geçirdiği Amsterdam’daki tiyatro çalışmaları ve günümüze kadar Hollanda’da yaşayan Türkiye göçmenlerinin yürüttükleri tiyatro çalışmaları hakkında tarihsel ve akademik alanda bilgi eksikliği bulunmaktadır. Bu sebeple araştırmanın amacı 1980’den bu yana Hollanda’da yaşayan Türkiye kökenli sanatçıları ve tiyatro olaylarını kronolojik bir sıraya göre belirlemektir. Bu araştırmada nitel yöntem kullanılmıştır. Desen olarak Sözlü Tarih uygun görülmüştür. Sözlü tarih araştırma tekniklerinin özellikle ırk, etnik köken ve toplumsal cinsiyet ayrımcılığının yoğun olduğu alanlarda etkinliği açıkça gözlemlenebilir. Bunun çarpıcı örneklerinden biri Türkiye’den Hollanda’ya göçmen statüsüyle yerleşmiş ve orada kök salmış sanatçılar için geçerlidir. Yaşayan tanıklarla görüşme yapmaya dayanan bu yöntem aracılığıyla geçmişte üstü kapalı kalan bilgileri açığa çıkarma, kültürel ve sosyolojik unsurları göz önünde bulundurarak kronolojik bir tarih sürecini yansıtma imkânı doğmuştur. Bu bağlamda araştırmanın örneklemi ve veri kaynağı halen Amsterdam’da yaşayan tiyatro sanatçısı, yöneticisi Meral Taygun, Theater Rast’ın yöneticileri Şaban Ol ve Celil Toksöz, oyuncu Cahit Ölmez, dönemin eğitim müfettişi Nora Roozemond, HİTİP ve HTKP’nin kurucusu Maviye Karaman’dır. Bu kişiler, tiyatro hareketinin Hollanda’da kıvılcımlandığı 1980 ve sonrasında gelişen olaylarda aktif rol oynamıştır. Yukarıda ismi geçen kişilerle görüşmeler yapılmış, bilgi ve deneyimlerine başvurulmuştur. Ayrıca tiyatro hareketinin ateşleyici gücü olan Vasıf Öngören ‘in yaşamının son yıllarını Hollanda’da geçirmiş olmasından ötürü onun ekseninde yoğunlaşılmıştır. Araştırma sürecinde canlı tanıklarla yapılan görüşmeler esnasında şu soruların izi sürülmüştür: 1980’li yıllarda Hollanda’da izlenen Türk Tiyatro çalışmalarının başlangıç aşaması nasıl olmuştur? Vasıf Öngören ‘in bu çalışmalardaki etkisi nedir? Hollanda’da izlenen Türk Tiyatro hareketinin gelişim aşamaları nelerdir? Hollanda’da süregelen Türk Tiyatro hareketi ne gibi problemlerle karşılaşmıştır? Göçmenlik, sanat etkinliklerini nasıl etkilemiştir? Araştırmanın kapsamı 1980-2018 yılları arasında Hollanda’nın Amsterdam kentindeki Türk Tiyatro çalışmaları ile sınırlandırılmıştır. Araştırmanın bulguları göz önünde bulundurularak ortaya çıkan sonuç; Hollanda’da 1980 yılından günümüze kadar Türkiye kökenli sanatçıların tiyatro üretmiş olduğudur. Hollanda tarafından göçmenlere yönelik yürütülen kültür politikaları dahilinde Vasıf Öngören ve Meral Taygun Hollanda’ya davet edilmiş, işçi çocuklarına yönelik bir tiyatro okulu açılmış ve Türk tiyatro hareketinin gelişmesinde önemli bir ateşleyici güç olmuştur. Tiyatronun tohumlarının atıldığı bu sürecin devamında, 2019’a gelindiğinde halen Hollanda’nın Amsterdam kentinde Tiyatro Rast çatısı altında Türkiye kökenli sanatçıların üretimleri dikkat çekmektedir. Yapılan Bulgular dahilinde kültür politika yapıcılarının yurtdışında yaşayan Türkiye göçmenlerinin sanat üretimlerinden haberdar olmasının da çeşitli politikalar üretmekte faydalı olacağı söylenebilir. Ayrıca göçmen sanat politikaları konusunda Hollanda hükümetinin yıllar içinde yürüttüğü demokratik tavır bir model olarak bu araştırmanın içeriğinde görülmektedir.
Anahtar Kelimeler: Türk Tiyatro Tarihi, Vasıf Öngören, Hollanda’da Türk Tiyatrosu, göçmen kültür politikası, Tiyatro Rast
ORAL HISTORY RESEARCH ON POST MIGRANT THEATER MOVEMENT FROM TURKEY TO THE NETHERLANDS
It is possible to come across theater examples of Turkish origin not only on-site, but also in places outside the country’s geography. As an example to that, The theater movement, which included Turkish immigrant artists among the art events taking place in Netherlands after 1980’s, was remarkable. Since the 1960s, the Turkish population has increased in Western Europe due to the migration of workers from Turkey to Germany, the Netherlands and France. It is observed that among the workers’ communities that brought their own culture during migration, especially those living in the Netherlands were interested in theater. The theater of Turkish immigrants living in the Netherlands gains momentum from one point to another by interacting with Western culture, especially starting from the 1980’s. The scope of the research is the theater works in between 1980-2018 of those who immigrated from Turkey to Amsterdam, Netherlands. There is a lack of historical and academic knowledge about the works of the Turkish theater person Vasıf Öngören who spent the last two years of his life (1982-1984) in Amsterdam and the following theater works after his passing carried out by the immigrants living in the Netherlands until today. For this reason, the aim of the research is to determine the theatre artists who immigrated from Turkey, living in the Netherlands and their theater productions in chronological order since 1980. The method was based on the Qualitative Research Technique and Oral History Research was used as a design. The effectiveness of oral history research techniques can be clearly observed, especially in areas where racial, ethnic and gender discrimination is intense. The striking example of this goes against artists who settled in the Netherlands with immigrant status and are rooted there. Through this method, which is based on interviewing living witnesses, taking into account cultural and sociological factors, it has become possible to reveal information that was obscure in the past, and to reflect a chronological historical process. In this context, the sources and samples of the study are theater actor, director Meral Taygun, directors of Theater Rast Şaban Ol and Celil Toksöz, actor Cahit Ölmez, education inspector of the specific period Nora Roozemond, founder of HİTİB and HTKB, Maviye Karaman. These people played an active role in the events that took place in 1980 and after, when the theater movement sparked in the Netherlands. Interviews were made with the above-mentioned persons and their knowledge and experience were consulted. In addition, due to the fact that Vasıf Öngören, who was the driving force of the theater movement, spent the last years of his life in the Netherlands, it was focused on his axis. During the interviews with live witnesses during the research process, the following questions were traced: How was the initial phase of the Turkish theater works in the Netherlands in the 1980s? What is the impact of Vasıf Öngören on these works? What were the stages of development in the Turkish Theater movement in the Netherlands? What kind of problems has the ongoing Turkish Theater movement in the Netherlands encountered? How has immigration affected art activities? The scope of the research was limited to Turkish theater studies in Amsterdam, Netherlands between 1980-2018. Within the scope of the findings, artists of Turkish origin have produced theater in the Netherlands since 1980 until today. Vasıf Öngören and Meral Taygun were invited to the Netherlands aligned within the the cultural policies carried out by the Netherlands for immigrants, a theater school was opened for the children of labor workers and became an important igniting force in the development of the Turkish theater movement. In the years to come after the seeds of the theater were planted, the productions of immigrant artists under the roof of Theater Rast in Amsterdam, Netherlands still draw attention in 2021. Within the scope of the findings, it can be said that it would be beneficial for cultural policy makers to be aware of the art production of Turkish immigrants living abroad. In addition, the democratic attitude of the Dutch government over the years on immigrant art policies is seen in the content of this research as a model.
Keywords: Turkish Theater History, Vasıf Öngören, Turkish Theater in the Netherlands, Dutch Cultural Policy for Migrants, Theater Rast
May 28, 2021 16:35 – 17:20 REVIVAL (Room 1)
Sahne’nin Tozu [TURKISH_TÜRKÇE]
- Celil Toksöz
“Sahnenin Tozu”May 28, 2021 17:30 – 18:30 UTOPIA (Room2)
Sınırda tiyatro: Sanatçının bavulundakiler veyahut yeni bir dünya/tiyatro mümkün mü? [TURKISH_TÜRKÇE]
“Sınırda tiyatro: Sanatçının bavulundakiler veyahut yeni bir dünya/tiyatro mümkün mü?“
- Ebru Nihan Celkan
- Eylem Ejder
- İrem Aydın
- Onur Hamilton Karaoğlu
- Selin İşcan
- Zinnure Türe
May 28, 2021 19:00 – 20:00 POSTPONED
[POSTPONED] A rolling stone gathers no moss: A Theatre-maker’s challenge with new cultures
- Deniz Başar
- Mehmet Ali Alabora
May 29, 2021 10:00 – 11:00 CANCELED
[CANCELED] Migration and Theatre: initiatives [ENGLISH_ENGLISCH]
“Migration and Theatre: initiatives”
May 29, 2021 11:30 – 12:30 UTOPIA (Room2)
Masters/Experiences [GERMAN_DEUTSCHE]
“Masters/Experiences“
- Ali Köken
- Şinasi Dikmen
May 29, 2021 14:00 – 14:45 REVIVAL (Room 1)
Imagining Istanbul as a City of Kurdish Diaspora: Its Effects on the Emergence and Transformation of Kurdish Theater Field in Turkey [ENGLISH_ENGLISCH]
- Bilal Akar
“Imagining Istanbul as a City of Kurdish Diaspora: Its Effects on the Emergence and Transformation of Kurdish Theater Field in Turkey”May 29, 2021 15:00 – 15:50 UTOPIA (Room2)
Bahoz, Berbibabûn û Vegera Malê – Xebatên Şermola Performans Li Almanya (Storm, Wobble And Homecoming – The works of Şermola Performans in Germany) [KURDISH/ENGLISH_KURDÎ/ÎNGILÎZÎ]
- Mirza Metin
“Bahoz, Berbibabûn û Vegera Malê – Xebatên Şermola Performans Li Almanya (Storm, Wobble And Homecoming – The works of Şermola Performans in Germany)”Şermola Performans, 2008an de bi hevkariya Mîrza Metîn û Berfîn Zenderlioğlu li Stenbolê hate damezirandin û heta niha bêhtir bi kurdî, çend heban jî bi tirkî û almanî, bi dehan lîstikên şanoyê afirandin. Şermola Performans, di 2018an de li Almanya jî dest bi xebatan kir û li wir ofîsa xwe
damezirand û produksîyonên hevpar û serbixwe afirandin, kargehên lîstikvanî û nivîskariyê pêk anîn û ji alîyê saziyên curbicur yên hikumeta Almanyayê ve hate piştevanî kirin. Di vê gotarê de, xebatên Şermola Performansê yên ku li Almanya pêk hatine wê bên şayesandin û boçûn û
helwesta wê ya hunerî wê bê nirxandin.Şermola Performans was founded in 2008 in collaboration with Mirza Metin and Berfin Zenderlioglu in İstanbul and has created dozens of theater plays in Kurdish, a few in Turkish and German. Şermola Performans also started working in Germany in 2018, where it established its office and created joint and independent productions, carried out acting and writing workshops and has been supported by various institutions of Germany. In this article, the work of Şermola Performans in Germany will be described and its artistic perspective and attitude will be evaluated.
May 29, 2021 16:00 – 16:50 REVIVAL (Room 1)
Gitmek üzerine [TURKISH_TÜRKÇE]
- Eylem Ejder
“Gitmek Üzerine”May 29, 2021 17:00 – 00:00 UTOPIA (Room2)
Ji ‘Zimanê Çiya’ Ber Bi Zimanê Şanoyê – Xebatên Şanoya Kurdî Li Almanya (From ‘Mountain Language’ to Language of Theater – Kurdish Theatre Studies in Germany) [[KURDISH/ENGLISH_KURDÎ/ÎNGILÎZÎ]
- Mirza Metin
“Ji ‘Zimanê Çiya’ Ber Bi Zimanê Şanoyê – Xebatên Şanoya Kurdî Li Almanya (From ‘Mountain Language’ to Language of Theater – Kurdish Theatre Studies in Germany)”Koçberiya Kurdan di salên 1960î de ber bi Ewropayê ve dest pê dike û hê jî berdewam dike. Bi taybetî bêhtir jî Almanya dibe mekanê koçberiyê. Kurd pêşî wekî karker, pey re jî wekî penaber û sirgun, kêm caran jî wekî akademîsyen û hunermend û karsaz hatine Almanya û li vir bi cîh bûne.
Wekî her miletekî, Kurd jî li Almanya, rêxistinên xwe yên wekî civakî, sîyasî, medyayî, çandî, edebî û hunerî ava kirine û di van qadan de çalakîyan pêk anîne û berheman afirandine. Yek ji wan qadan jî bê guman şanoya kurdî ye ku heta niha nebûye mijarê lêkolîneran. Di vê gotarê de, xebatên şanoyî di çarçoveya nasname û mêtingeriyê de wekî axaftineke malûmatî wê bê pêşkeşkirin.Kurdish migration to Europe began in the 1960s and still continues. In particular, Germany becomes a place of migration. The Kurds first came to Germany as workers, then refugees and exiles, and rarely as academics, artists and businesspeople. Like any nation, the Kurds in Germany have formed their own social, political, media, cultural, literary and artistic organizations and have carried out activities and created products in these areas. One of those areas is undoubtedly Kurdish theater that has not yet been the subject of researchers. In this article, theatrical work will be presented as an informative essay within the framework of identity and colonization.
May 29, 2021 18:30 – 19:30 REVIVAL (Room 1)
Gitmenin “Beraber” Hâlleri TURKISH_TÜRKÇE]
“Gitmenin ‘Beraber’ Hâlleri“
BERABER/Kritik Kolektif
May 31, 2021 19:00 – 20:00 REVIVAL (Room 1)
A rolling stone gathers no moss: A Theatre-maker’s challenge with new cultures [ENGLISH_ENGLISCH]
- Mehmet Ali Alabora
“A rolling stone gathers no moss: A Theatre-maker’s challenge with new cultures”- [Deniz Başar (Moderator)]
Partners
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studioNAXOS
Waldschmidtstraße 19, 60316 Frankfurt am Main
studioNAXOS ist ein freies Theaterhaus. Es zeigt zeitgenössische Positionen aus Theater, Performance, Musik, Installation und Tanz und tritt für den Ausbau der Naxoshalle als kulturell genutztem Industriedenkmal ein. studioNAXOS entstand 2014 aus einem Zusammenschluss von Studierenden der Hessischen Theaterakademie (HTA). Ziel war die Etablierung eines Zentrums für freies Theater, das von den Künstler*innen geleitet wird, die darin arbeiten und ihnen professionelle Bedingungen sowie eine selbstbestimmte Perspektive bietet. Daraus sind inzwischen deutschlandweit beachtete Theaterarbeiten, Produktionsweisen und auch Formen der Theaterorganisation entstanden, mit mehr als 400 beteiligten Künstler*innen. studioNAXOS ist assoziiertes Mitglied der HESSISCHEN THEATERAKADEMIE (HTA). studioNAXOS ist Teil des bundesweiten NETZWERKS FREIER THEATERHÄUSER (NFT). studioNAXOS wird ermöglicht durch den Naxos-Bund zur Förderung junger Künstler*innen aus Hessen e.V. Infos unter info@studioNAXOS.de
#FreeArasAmiri
This event is dedicated to the imprisoned writer/curator Aras Amiri
Aras Amiri is a London-based writer/curator. She has made a significant contribution to art and culture across cinema, music, literature, theatre, and visual arts. In March 2018 she was arrested by the Iranian Ministry of Intelligence on unspecified charges relating to “national security”.