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In this series of interviews we try to get to know the artists who were the artists of İstanbul Fringe Festival 2021 - Hybrid. Our first guests are Pierre Larauza & Emmanuelle Vincent from t.r.a.n.s.i.t.s.c.a.p.e.  Ayse Draz, Art Unlimited Performing Arts Editor & Mehmet Kerem Ozel, Writer  [The Turkish translation of this interview is published on art.unlimited ] What is the essence of performance in your opinion? The living, the live, the relationship of a body with an audience. Do you believe in the transformative power of art? How? Art does not transform reality, it helps to see it differently. In this sense, yes, art transforms the public's point of view. How do you think that this pandemic which humanity is facing at a global scale today will transform performing arts in the future? The pandemic has already transformed our relationship with space and with each other. Living art is affected by this and will undoubtedly become more and more valuable in an increasin...

In this interview we try to get to know Dávid Somló who is one of the international guests of the "From the world" section of the 2nd Bergama Theatre Festival in August 2021.  Ayşe Draz & Mehmet Kerem Özel  [The Turkish translation of this interview is published on unlimited ] What is the essence of performance in your opinion? People are paying attention together in a space.  Do you believe in the transformative power of art? How? It is quite tricky. Most of the time I think it does very little transformation, rather just creating comfort and entertainment, but sometimes it can be very cathartic and inspirational. But I guess it also depends on the willingness of the individual to be transformed. The ‘how’ depends on the form of the art as well, but in performative genres for me it is working as a pointing finger, that says: you can do that, you can be like that as well, there is something over there, etc.  How do you think that this pandemic which humanity is...

The 74th Holland Festival, which continued throughout June, ended with the livestream of the music-theatre named TIME by the famous Japanese composer Ryuichi Sakamoto, one of the associate artists of this year's edition, on 27th June.  TIME , a joint project of the Holland Festival - Amsterdam, deSingel - Antwerp and the International Manchester Festival, had its world premiere on 18th June at Gashouder-Westergas, which was converted from one of Amsterdam's old gasworks into a culture and events centre.  © Sanne Peper A woman blows a flute-like instrument and walks slowly across the stage filled with ankle leveled water. An hour later she passes again blowing the same instrument, but this time making more painful screams than before. The water through which she passes is no longer the clear water as before. There are dry branches in the water, stones of compacted earth, and there is a man's body in the water, bent like a rock. In the realm of a dream that lasted 100 year...

for twelve years...  

Interview with one of the four Netherlands-based theatermakers in PerformLab exchange programme in Istanbul.  Ayşe Draz & Mehmet Kerem Özel [The Turkish translation of this interview is published on  unlimited ] What is the essence of performance in your opinion? How do you define contemporary performance? I think there are so many ways to answer this question, but if I were to try to describe for myself what the essence of performance is; The first thing that comes to my mind is the desire to be together, to play the game of seeing and being seen, and above all a personal but absolutely collective experience. I am convinced that performance allows for a deep experience that is simultaneously intimate, collective, intellectual, emotional and physical. It can make it possible to question, decontextualise or reformulate our relationship to the other, to reality, or to society. Performance is the place of the sublime and also the place of politics. How then to describe co...

The Schöne Aussicht (Bright View) International Theater Festival, which appeals to young people and children, but most of all to those who still feel young and have a child spirit, ended last Sunday (June, 13), but the recordings of the performances can be watched until the end of June. One of the four shows of the festival was the production of Compagnie Bakelite from France called Envahisseurs (Invaders). It was Olivier Rannou, who both created and staged it, which is one of the qualified examples of object theater. Its subtitle, “Theatre with Unknown Objects”, contains a pleasant humor about both its content and form and the show itself. On one hand, it refers to the "unknown" state of the invading aliens, and on the other hand, it mocks the "known" state of all the objects used in the show, which we are familiar from our daily lives. Well, what are the things Rannou used in the show? Three bond-style briefcases, miniature soldiers, visceral dolls, touristic min...

Interview with one of the four Netherlands-based theatermakers in PerformLab exchange programme in Istanbul.  Ayşe Draz & Mehmet Kerem Özel [The Turkish translation of this interview is published on  unlimited ] © Mélanie Musisi What is the essence of performance in your opinion? How do you define contemporary performance? ‘’For now…’’ I see it as an ongoing process and or attempt to reflect on the time. The past, present, future and all the grey speculative areas in between. A tool, an arena and or platform where beauty, grotesque, chaos, structure, realism and surrealism can clash, collide, transform, connect, find friction, resolve and transcend to then bring us back to earth again. Do you believe in the transformative power of art? How? I believe in the transformative power of art. For me performing arts or any art form in that matter gives us a playground to make space for our individual and collective imagination. This can be in the form of transformation of physical...