conversations in ten questions 14 : Isabelle v. Gatterburg (Backsteinhaus Produktion)

In this series of interviews we try to get to know the artists who were the artists of İstanbul Fringe Festival 2020 - Online. Our next guest is Isabelle v. Gatterburg who created Backsteinhaus Produktion's "Wolfgang". 

Ayse Draz, Art Unlimited Performing Arts Editor & Mehmet Kerem Ozel, Writer 

[The Turkish translation of this interview is published on art.unlimited]

(Photo: Alex Wunsch)

What is the essence of theatre/dance in your opinion? How would you define contemporary theatre/dance today? 

I think the essence is the same, whether it is contemporary and from today or from before - just the way to express changes with the time. The essence for us is always to put our questions into pictures and something that reaches you beyond cognition. Theatre/Dance should be seen in our opinion as a space for reaction and response on what is actually happening in the society. It should open up for discussion. 

Is there any artist whom you can describe as "my master", or any person whom you think influenced your art? And if there is such a person, who is s/he? 

There are many and the bunch keeps growing, we think it is very necessary and beautiful to get inspired by others, especially other artists and theatre makers. But when we talk about „mastering“ and people that influence our art actively we would say it is our team, the dancers, set designers, dramaturgs, theatre people etc. that we work with for each production. With their input, their will to join our visions and even with their resistance, they form the pieces. It is much more satisfying to develop through discussion inside a big team new ideas instead of running behind one master and copy paste. 

When you are working on a piece, what sources inspire you? Do dreams play a role in your works? 

There are different sources we use. First of all there is a theme that keeps us busy for a longer time. Mostly it is a continuation out of a theme before. Mostly out of our society and political environment and depending on actual circumstances. So less dreams more reality plays a role. When the theme is clear for everybody, we have different ways of approaching according to our main work fields. Some are dancing and exploring by movement, some are writing, some are composing. But the important thing is always that we continuously discuss together and try to give the theme always a kick in the ass to get it to another point. 

Do you believe in the transformative power of art? How? 

 We are sure that art can transform, it transforms ideas into movement, thoughts and themes into concrete discussable moments. And for sure it can transform something, set something free in the ones who do, but also in the ones who witness it. So in good ways art has a lot power to change. 

What does “fringe” mean for you? 

Fringe means that there are people who believe in art and in the importance of art which doesn’t always fit into regular shapes. Fringe means love for art, love for unconventional art and specially no fear to provoke. 

Why did you decide to participate in Istanbul Fringe Festival with this particular work of yours? 

It is a work which is very important to us. Immigration and how we humans deal with that will always be a theme to be discussed. The piece tells something about our Western European arrogance to believe the world belongs to us. But it tells also something about the humans in general who believe the world belongs to them. Wolves live in a very social society and have their clear rules to leave no one behind. Something that humans probably will never fully achieve to learn. 

If you had to translate the work you are showing at Istanbul Fringe into a single sentence, what would it be? 

aaauuuuuuuuuuuuuu (howling) 

What will be the impact of showing your work on a digital platform/online rather than encountering the audience in physical space/real time? 

I think in the video you can see the pictures and understand maybe the thoughts behind, but in the physical live version is definitely better. The piece plays a lot with the transformation of space and the public is experiencing a displacement. So the public participates without being forced to do something. It leaves the spectators much more open to receive. 

How do you think that this pandemic which humanity is facing at a global scale today will transform performing arts in the future? 

No idea - but we truly hope, that people will run in crowds to the theatre because digital is just an addition to live, but real physical being in space is much more full. 

How is the performing arts scene in your country handling/dealing with the challenging conditions posed by the pandemic? 

They are dealing with it, actually here there were many fundings changing their programs into quick help in form of stipend or outside performances. How it really is, we will see after summer holiday… less public in one space I guess… lots and lots of Solo works…