danzon_eng

THE BIG CRYING ©Rahi Rezvani The bare-chested man stands in the front and center of the stage with his back to the audience. In the background of the stage, a long thin pipe with a shaky but powerful fire emanating from the end is positioned on the same axis as the man. From the darkness in the back, male and female dancers wearing black clothes are swiftly coming forward from either side of the pipe. They and the man consult with each other with harsh, intermittent and fast repetitive gestures, exchanging mutual movements. It's like a farewell ritual; They say goodbye to him, as if taking a piece of him, or a memory with him. But it could also be an initiation or a creation ceremony; Perhaps others are getting the blessing of that bare-chested man to be born, to live, to continue to live, or to be accepted as adults. On the other hand, in a later scene and at the end of the work he is on his knees on the floor, his face leaning towards the ground, with his mouth opens wide but d

In this series of interviews we try to get to know the artists of İstanbul Theatre Festival 2020. Our second guest is Dimo Milev.  Ayse Draz, Art Unlimited Performing Arts Editor & Mehmet Kerem Ozel, Writer [The Turkish translation of this interview is published on art.unlimited ]  photo: Javier Garceche NDT, the world-famous dancetheatre ensemble of the Netherlands, which we had the opportunity to watch many times in Istanbul thanks to different events in the past years and continued on its way under the new artistic director of Emily Molnar in August 2020, after the nine-year period of Paul Lightfoot, started with the opening shows of the 2020-21 season, reaching out to audiences both on the screen with online livestreaming and in the auditorum whose capacity was reduced according to pandemic conditions. NDT decided to livestream online, this time without spectators, as the Dutch government closed the theaters completely again in November due to the increasing pandemic cases. Th

published on ART UNLIMITED 38 (September 2016)  https://issuu.com/artunlimited_tr/docs/unlimited_eng_26082016_a4/60 Prolog A décor built in the emptiness of the stage space; a room defined by its floor and two perpendicular walls. There are numerous doors and a window on the walls. One or two people sitting on the chairs in the empty spaces left in two sides of the décor on the stage. Some of the spotlights are placed in these areas and made a part of the atmosphere that was created on the stage: the ones that watch ‘the scene on the stage’ and we, the audience, who watch both. When we first encounter this stage under a darkish light when the curtain is raised, a light coming on and off from the pee hole of the door facing us is visibly seen; as if there is someone behind the door and looking at us from the hole. As one moves, the light coming behind her/him goes off and reappears, just like when you look at the neighbor’s door when you are outside in the stair landing

photo: danzon atmosphere and inspirations you come to the theater to see a dance or a dance theater piece, but it is impossible to define what goes on the stage as dance or dance theatre. yes, these two works contain parts with dance and also certain characteristics of dance theatre too. however, similar to other works or their creators which i had seen, it seems that, for them, rather than dance choreographies, it is more important to design a choreography to create a certain atmosphere on the stage. an atmosphere having the qualities which no one ever thought to create on stage before. their inspiration is not a secret of course, especially the cinema of david lynch and all the things that those movies evoke: a mysterious, weird, surreal and nightmare-like atmosphere… as for the content, i can associate it with ingmar bergman cinema: digging the relationships/problems in human relations, especially those in the family (between woman-man, parent-child, mother-son, mother-daug