conversations in ten questions 4 : Peter Lee - Being Faust: Enter Mephisto (Goethe Institut & NOLGONG)
In this series of interviews we try to get to know the directors/choreographers who will be the international guests at the 23rd Istanbul Theatre Festival in November 2019. Our fourth guest is Peter Lee.
Ayse Draz & Mehmet Kerem Ozel
Art Unlimited Performing Arts Editor & Writer
[The Turkish translation of this interview is published and can be accessed on art.unlimited]
What is the spirit of theatre in your opinion? How do you define contemporary theatre today?
Traditionally, theatre represents a space of wonder. In other words, theatre is a space where you can experience non-dailiness. Even in this digital era, in which the cinema wields a stronger influence, the theatre still maintains its own unique characteristics as a dramatic and thematic space. I believe that is the spirit of the theatre. Its very own identity. Regarding the contemporary theatre, the value in itself remains. However, the theatre is challenged by its limited accessibility. Various media are gaining strength through the power to reach, but the theatre’s particular trait as a physical space limits its power. The value of dramatic experience and spectacle space is unchanging.
Do you believe in the transformative power of art? How?
Yes. Art formalizes an expressive nature of oneself. This helps to provide an opportunity to individuals to transform themselves. On the other hand, art is a very personal experience. When an artistic connection is achieved, art actively engages with people and pushes them towards a certain direction.
When you consider the current state of the world in every sense, what is the most important and urgent issue for you as an artist?
Rising political tensions, refugees, national conflicts like the US-Mexican border, the Brexit issue, climate changes; there are numerous issues we face around the whole world. Recently, I was inspired by the idea of using the word “jigu-in”(Korean meaning people of the earth) instead of the word “segye-in”(Korean meaning citizen of the world). The reason was that the term “citizen of the world” implies separated nationalities, while the problems we face calls for a trans-national action. However, there are various walls between us; some of them are formed from hatred or fear, some of them are formed to protect the gains. For a collective trans-national action, a work to tear down these walls of broken emotions must be preceded.
When you are working on a piece, what sources inspire you? Do dreams play a role in your works?
Everything is inspirational. Usually when focusing on a project, I whether dream about that project, or don’t sleep at all. (laughs)
When do you decide to give a title to a work you are working on if it already does not have one?
I usually start a project with a title. A project literally has a projected vision, and the vision comes up with the title. Of course, titles change with the final product, but there is always a title to a work.
What’s your favourite line or moment in this performance, and why?
Verweile doch! du bist so schön! (Stay awhile! You are so beautiful!) The line is the most important part of the original story, and the performance as well. In the story, this is the moment at which Faust is fully satisfied and is determined to expire the contract with the devil, Mephisto. In fact, Faust is the subject one deciding to end the contract. In the performance, this moment of subjective-ness occurs twice; when the player selects the most cherished values and when the player puts the player’s cared friends on sale. The subjects of both situations decide what to take, in return for what they have decided to give up. They acknowledge what the choice means and how much the choice weighs. It is the moment in which abstract emotions and physical actions are both perceived through a subjective decision.
“Being Faust: Enter Mephisto” is defined also as an interactive mobile application but what element makes it also a performance?
“Being Faust: Enter Mephisto” is a performance that utilizes interactions through mobile devices. Through the interactive mobile experience, the audience becomes the performer on stage, and the choices and movements become expressions in the thematic scenes. At the Mephisto&co., people look for values and interact with one another. These actions become a performance in which emotions are expressed. This performance eventually completes the stage, Mephisto&co. Without the players, there is only a monologue on stage. However, now, the audience as a counterpart of Mephisto(pheles) speaks, and Mephisto(pheles) answers back.
What virtual elements does this production make use of?
In the production, mobile technology, digital interface, and game experience are all combined. However, the combined production is not representational or virtual; it is invisible and yet real. Unexperienced emotions emerged and expressed throughout the game are real as well. In other words, the game provides a real moment of choices; not a represented moments of reality.
Who is Mephisto in the digital age?
Mephisto is a devil, and yet good and evil is insufficient in defining him. Mephisto is merely a challenge to different paths and choices. In fact, in the digital age, all kinds of digital services push us through numerous choices. These choices also have nothing to do with good and evil. Say that we are surrounded by digital Mephistos; how far would we go to satisfy our desires?
Is there anything in particular you want to tell people before they see this show? Is there anything particular you would like to tell the Istanbul audience?
What do you desire? Are you prepared to pay whatever cost? Faust tells us that all desires have a cost. We hope to present an experience to ponder on this idea.
Ayse Draz & Mehmet Kerem Ozel
Art Unlimited Performing Arts Editor & Writer
[The Turkish translation of this interview is published and can be accessed on art.unlimited]
What is the spirit of theatre in your opinion? How do you define contemporary theatre today?
Traditionally, theatre represents a space of wonder. In other words, theatre is a space where you can experience non-dailiness. Even in this digital era, in which the cinema wields a stronger influence, the theatre still maintains its own unique characteristics as a dramatic and thematic space. I believe that is the spirit of the theatre. Its very own identity. Regarding the contemporary theatre, the value in itself remains. However, the theatre is challenged by its limited accessibility. Various media are gaining strength through the power to reach, but the theatre’s particular trait as a physical space limits its power. The value of dramatic experience and spectacle space is unchanging.
Do you believe in the transformative power of art? How?
Yes. Art formalizes an expressive nature of oneself. This helps to provide an opportunity to individuals to transform themselves. On the other hand, art is a very personal experience. When an artistic connection is achieved, art actively engages with people and pushes them towards a certain direction.
When you consider the current state of the world in every sense, what is the most important and urgent issue for you as an artist?
Rising political tensions, refugees, national conflicts like the US-Mexican border, the Brexit issue, climate changes; there are numerous issues we face around the whole world. Recently, I was inspired by the idea of using the word “jigu-in”(Korean meaning people of the earth) instead of the word “segye-in”(Korean meaning citizen of the world). The reason was that the term “citizen of the world” implies separated nationalities, while the problems we face calls for a trans-national action. However, there are various walls between us; some of them are formed from hatred or fear, some of them are formed to protect the gains. For a collective trans-national action, a work to tear down these walls of broken emotions must be preceded.
When you are working on a piece, what sources inspire you? Do dreams play a role in your works?
Everything is inspirational. Usually when focusing on a project, I whether dream about that project, or don’t sleep at all. (laughs)
When do you decide to give a title to a work you are working on if it already does not have one?
I usually start a project with a title. A project literally has a projected vision, and the vision comes up with the title. Of course, titles change with the final product, but there is always a title to a work.
What’s your favourite line or moment in this performance, and why?
Verweile doch! du bist so schön! (Stay awhile! You are so beautiful!) The line is the most important part of the original story, and the performance as well. In the story, this is the moment at which Faust is fully satisfied and is determined to expire the contract with the devil, Mephisto. In fact, Faust is the subject one deciding to end the contract. In the performance, this moment of subjective-ness occurs twice; when the player selects the most cherished values and when the player puts the player’s cared friends on sale. The subjects of both situations decide what to take, in return for what they have decided to give up. They acknowledge what the choice means and how much the choice weighs. It is the moment in which abstract emotions and physical actions are both perceived through a subjective decision.
“Being Faust: Enter Mephisto” is defined also as an interactive mobile application but what element makes it also a performance?
“Being Faust: Enter Mephisto” is a performance that utilizes interactions through mobile devices. Through the interactive mobile experience, the audience becomes the performer on stage, and the choices and movements become expressions in the thematic scenes. At the Mephisto&co., people look for values and interact with one another. These actions become a performance in which emotions are expressed. This performance eventually completes the stage, Mephisto&co. Without the players, there is only a monologue on stage. However, now, the audience as a counterpart of Mephisto(pheles) speaks, and Mephisto(pheles) answers back.
What virtual elements does this production make use of?
In the production, mobile technology, digital interface, and game experience are all combined. However, the combined production is not representational or virtual; it is invisible and yet real. Unexperienced emotions emerged and expressed throughout the game are real as well. In other words, the game provides a real moment of choices; not a represented moments of reality.
Who is Mephisto in the digital age?
Mephisto is a devil, and yet good and evil is insufficient in defining him. Mephisto is merely a challenge to different paths and choices. In fact, in the digital age, all kinds of digital services push us through numerous choices. These choices also have nothing to do with good and evil. Say that we are surrounded by digital Mephistos; how far would we go to satisfy our desires?
Is there anything in particular you want to tell people before they see this show? Is there anything particular you would like to tell the Istanbul audience?
What do you desire? Are you prepared to pay whatever cost? Faust tells us that all desires have a cost. We hope to present an experience to ponder on this idea.
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