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10 online games at the 24th Istanbul Theatre Festival

It's about 40; there's no Dec.

Ear Theatre

Author: Nathalie Sarraute 
Ruling: Kerem Ayan 
Turn: Kerem Ayan 
Producer: April Ceren Göçen, Faruk Özerten, PODACTO 
Sound Design: Hakan Atmaca, PODACTO 
Project Officer: Naz Güven 
Law and Finance Officer: Evolution Zeybek 
Project Assistant: Zeynep Çamlılar 
Audio Recording: Nuri Aykurt, Hakan Atmaca 
Audio Mixing: Hakan Atmaca 
Foley Record: Gunkut Islander 
Players: Nejat Işler, Özgür Emre Yıldırım, Ülkü Duru, Iştar Gökseven

A “language game” signed by Nathalie Sarraute, one of the French writers who created the “new novel”movement, rejecting the traditional novel structure in the process of this quest, seeking the indescribable by language and word. Just as with the way the writers of the” new novel " stream use language, the main issue between the two male actors of this play, which Sarraute wrote for the radio, is the meaning behind language, words, what is said and what is not said Dec... The two very old and close friends enter into a serious showdown about their friendship, based on the things eften puffen. A new formation that combines games with the audience in a podcast format is a play from podacto, the ear Theater; a play about the place of language in our relationships and lives and the unseen but sensed judgments that seep into bilateral relations.


Author: Sevilay Saral Directed By Aysel Yildirim 
Outer Eye: Duygu Dalyanoğlu, Ilker Yasin Keskin
Music: Beryl Sarıaltun 
Banner Design: Drop Pin 
Players: Aysel Yildirim, Ayşenil Şamlıoğlu, Duygu Dalyanoğlu, Bulut B. Sezer, Alif Karaman, Tülin Özen, Zeynep Okan

Seven women from Rotterdam, a cargo worker, a retired teacher, a nurse, a housewife, an online life coach and a player share with the audience what is going on, making fun of their situation and pinning what is going on. Seven women in different profiles, some Covid-19 positive, some negative, each in isolation; with their personal narratives, they almost record the days of the pandemic. These women, who started sharing their personal videos with the message “if you are in isolation and you are seeing violence, share” that they encountered on the internet; although they cannot physically get together, they cross paths with the videos they post on the internet, decking the ways of their real encounters in quarantine.

It lasts about 70s; there is no Dec.
Turkish English subtitles

BGST THEATRE


BOILER ROOM
Written and directed: Peace Arman 
Dramaturgy: Özlem Hemiş 
Sound Design: Hakan Atmaca 
Play: Funda Eryiğit

IMPORTANT NOTE: Participants will follow this performance through their headphones, through a tablet or smartphone, wandering around their own homes. Headphones must be installed during performance. We recommend that our audience experience this performance in daylight and in a quiet environment.

At a time when our”home state " is on our agenda more than ever, it's an unusual invitation for the audience to go out in rooms belonging to their own homes. Participants will experience a performative experience inside their homes, consisting of different stops, with the guidance of a guide who will call them through their headphones, just as they are visiting an art gallery. Participants who will use the windows as a frame and the door binoculars as a camera will also look at the history of this typology, which meets our housing needs. How safe is the inside, outside of the house, our windows, doors or the contents of the fridge? Can our homes protect us from explosions, disease, raids, natural disasters, theft or Grasshopper attack?

It's about 40; there's no Dec.


NOVEMBER US 25. 18.00 – 21.00
26 NOVEMBER TH. 18.00 – 21.00

It's about 90; there's no Dec.

Co-Producers: PLATFORM THEATRE & FRINGE ENSEMBLE 

Concept: Ceren Ercan, Frank Heuel, Mark Levitas, Annika Ley, Fehime Seven 
Dramaturgy and texts: Ceren Ercan 
Ruling: Frank Heuel 
Virtual realization and stage design: Annika Ley 
Game design and development: Fehime Seven 
Production: Mark Levitas 
Sound design and music: Omar Sarigedik
Academic Advisor: Miguel Sicart, Güven Çatak 
Game Design Assistant: Maria Muszynska 
Game Development Assistant: Yusuf Işık 
Players (in alphabetical order): Alican Yucesoy, Elif Urse, Ersin Umut Güler, Gizem Erdem, Okan Urun

Kunststiftung NRW, NRW Landesburo Freie Darstellende Künste, Ministerium für Kultur und Wissenschaft des Landes Nordrhein-Westfalen, Goethe Institut Istanbul, Bahcesehir University Game Lab, Hann stage

Important note: applications for online participation in the game will be made on the Instagram page of Platform Theater from November 15.

Instead of a future where we are connected to each other by Digital Networks and signals, how about reaching for a map of society woven with solidarity? In addition, by using the data offered by the game and building characters, you will be one of those who weave this network of solidarity... Map to Utopia, a joint project of Istanbul-based Platform theater and Bonn-based fringe ensemble, transforms the position of the audience from passive audience to active participant, placing the idea of a city future that offers to hear each other in all its differences. Accompanied by 20 avatars, the performance, which will create a fictional simulation of four different districts, invites the audience to build a new character and his journey in these districts where they are neighboring each other. For three years, the audience will be able to choose one of two different cruise experiences in the project, which offers different areas of experience in the relationship between digital and theater. Audience-participants will be able to participate in the game from their own private areas via the Zoom program and a special mobile app designed for the game. The audience will share the same physical space with the players so that the players can share the same digital space live, while the audience will experience a whole new cruise-participation experience. Map to Utopia aims to create a basis for discussion on the axis of the” city of the future", while also opening a long-term research area on the theater of the future.


It lasts about 50s; there is no Dec. English Turkish with English subtitles

TALDANS
Concept, choreography and performance:
Mustafa Kaplan, Filiz Seçanlı
Sound design and application: Sair Sinan Kestelli, Enis Gümüş, Gökhan Deneç Özgün
Music: Enis Silver
Light Design: Utku Kara
Production: Taldans
Production Director: Euphrates Kuşçu

Thank you EMPAC (Experimental Media and Performing Arts Center, USA), La Maison des Métallos (F), Theater Madrasa (TR), Inci Furni, Sima Can Kaplan, roof Contemporary Dance Artists Association

Contemporary dance duo Taldans continue their voice, rhythm and movement axis work in their new works, where they examine the original dynamics of the current of serialism in music. Performing their choreography using mathematical scores, sequences and repetitions, the duo this time raise their questions to serialism, which they consider as their inspiration: where can the sequences created by using serialism's features such as tone, rhythm, timbre drag images of the body and movement? How does serialism's approach to music, literature, architecture and art affect a choreographic structure? How is the systematics of structures established and how does creation participate in this process? How to move from one discipline to another using sequences and series? Can these sequences be a tool in the transition from Dance To Video, Music to dance? In his new project, Taldans explores the mathematics of nature and emotion through series and sequences and aims to project it onto the stage.


It lasts about 110’; there is no Dec. Italian Turkish and English subtitles.

Making: Emilia Romagna Teatro Fondazione Producers: Teatro di Roma, Théâtre du Rond Point-Paris, Théâtre de la Place-Liège, Théâtre National de Bretagne-Rennes

PIPPO DELBONO COMPANY
Designed and directed by: Pippo Delbono 
Original Music: Alexander Balanescu 
Stage Design: Claude Santerre 
Costume Design: Antonella Cannarozzi 
Light Design: Robert John Resteghini 
Technical Director: Fabio Sajiz 
Sound Supervisor: Angelo Colonna 
Sound Design: Corrado Mazzone 
Light & Video: Orlando Bolognesi 
Wardrobe: Elena Giampaoli 
Chief Machinist: Gianluca Bolla 
Machinist and Video: Mattia Manna 
Production Management: Alessandra Vinanti 

Organization: Silvia Cassanelli 
Players: With the participation of Dolly Albertin, Gianluca Ballaré, Bobò, Pippo Delbono, Ilaria Distante, Simone Goggiano, Mario Intruglio, Nelson Lariccia, Marigia Maggipinto, Julia Morawietz, Gianni Parenti, Pepe Robledo, Grazia Spinella, Alexander Balanescu

A neutral landscape ... watching this work by Pippo Delbono, we find ourselves at the beginning of a journey into the future, on the verge of a series of frames, in the body of a drama that shows us the truth without retracing it. Dopo La Battaglia (after the war) is a composition that decisively opens the doors of our existential darkness with a constant flow through the void it creates... through the rhythm of music and dance in the game, we witness the current pain that turns into faith in the future, finding harmony between language and emotion in words and poetic strings. Players call their audience into a physical and mental gray area, a crossroads of our dream world, a crossroads of the misery and depravity of the captive, blind man, where the figures of our real world flow. The words of writers such as Antonin Artaud, Franz Kafka, Alda Merini, Pier Paolo Pasolini, Walt Whitman, Rainer Maria Rilke, Alejandra Pizarnik, rewritten by Delbono, echo again in this performance, almost in a ritual. The original music, composed and performed live by Alexander Balanescu, accompanies the words and strings, while the players embody the flying words... a door that opens through the time we live in opens one by one with the language of the theater…


It lasts about 55’; There is no Dec. Turkish English subtitles

Author: William Shakespeare
Ruling: Kublai Karslioglu
Adapting and playing: Simge Günsan
Costume and decor design: Shirin Dağtekin Yenen 
Assistant: Uğur Cem Tek
Light Design: Mansur Pike
Banner Design: Peace Sharp

Betrayal, a series of misunderstandings, a lot of intrigue, a noticeable ambition for power, a lot of blood spilled, and an unhappy ending... a Shakespearean tragedy that also includes its own Comedy, King Lear. If this classic work is staged on a kitchen counter, accompanied by kitchen supplies, what kind of game and food will appear? The cast, who had previously blended object theatre and storytelling in their play Macbeth in the kitchen and turned the play into a dish, will cook “a tragedy dish with betrayal sauce” this time. As King Lear and his friends walk step by step to the inevitable bitter end, the ingredients on the counter will also turn into a “mourning dinner”at the end of the game.


It's about 90; there's no Dec.

Ear Theatre

Written and directed: Aksel Bonfil 
Producer: April Ceren Göçen, Faruk Özerten, PODACTO 
Sound design and mixing: Serkan Köseoğlu 
Foley Editor: Hadiye Gulay Acar 
Audio Recording: Hakan Atmaca 
Project Officer: Naz Güven 
Technical Responsible: Hakan Atmaca 
Law and Finance Officer: Evolution Zeybek 
Project Assistant: Zeynep Çamlılar, Su Lara Aslan 
Players: Cengiz Bozkurt, Esra Dermancıoğlu, Salih Bademci, Ahsen Eroğlu

In Istanbul in the late 1940s to a poor family of three persons, collapsing with a heavy load on their backs, trying desperately struggling to cope with the entity tax the story of a father, a mother who struggles with hard fact and the family of their dreams with challenging conditions in the face of this little family grow from a young girl who works to affect the fate of their family, for the sake of your eyes, ready to ruin a tax collector, game, Turkey's non-Muslim population creates severe consequences that will last for generations to tax the effects on the entity that is looking from the perspective of an ordinary family. This impoverished house in Galata invites the audience to remember the political and social climate of recent history that has destroyed the lives of individuals.


(English, suitable for + 13 years old.)

NOVEMBER US 18. 21.00 / 21.20 / 21.40 / 22.00 / 22.20 / 22.40 / 23.00 / 23.20 / 23.40
19 NOVEMBER TH. 21.00 / 21.20 / 21.40 / 22.00 / 22.20 / 22.40 / 23.00 / 23.20 / 23.40

IMPORTANT NOTE: The show lasts about 70s; there is no Dec. Performances in the show will resume every 20 minutes and repeat 9 times. 35 participants will be accepted for each performance. The language of performance and online platform is English. You can connect to the online platform via a laptop, computer or tablet; due to the three-dimensional environment, it will not be possible to connect via a mobile phone.

CLUB GUY & RONI, SLAGWERK DEN HAAG, TOMOKO MUKAIYAMA
Choreography: Roni Haver As Guy Weizman
Composer: Alexandre Kordzaia
Costume Design: MAISON the FAUX
Stage Design: Ascon de Nijs
Light and Video design: Maarten van Rossem
Online Art Design: Martijn Halie
Dancers: Angela Herenda, Sofiko Nachkebiya, Tatiana Matveeva, Jochem Braat, Adam Peterson, Igor Podsiadly, Camilo Chapela, Harold Luya, Sanne den Hartogh, Niels meliefs, Jonathan Bonny, Enric Monfort, Poetic Disasters Club

Istanbul Theatre Festival is signing a new collaboration. Three productions under the common denominator of” Dutch selection " are meeting our audience this year. These projects are supported by the Netherlands Performing Arts Fund. 

The international dance troupe Club Guy & Roni is taking part in the “Dutch Selection” section of the festival with its latest work; moreover, this screening is broadcast live! How do you come across a show when the ensemble, which has won the audience's acclaim for its original interpretations of classical ballet, adapts Swan Lake to the stage? A brand new interpretation of this well-known classic work is presented to the audience as a parallel event, both online and offline, from the community's scene in the Netherlands. Swan Lake is a performance that combines our desire to escape into a decadent fairy-tale world with the risk of losing our relationship to reality. At the same time as us, the “real” audience at the venue in the Netherlands is forced to make choices that determine how the performance will progress along the way as it moves from one stage to another. At the same time, those of us who participate in this game online are also determining how the fairy tale will end. There is no doubt that everyone has a say in this game, and this interaction brings with it a responsibility. Emphasizing this responsibility of the audience, the creators of the performance aim to explore how we can move forward in the wake of a crisis. The black swan theory is used to indicate an economic phenomenon that is impossible to predict but still has a huge impact on the system. So, how do we move forward now that the Black Swan of Covid-19 and the climate crisis has united and turned fairy-tale Democracy and liberal consumer paradise upside down? Are we going to start a new story together? 


Dec November 24 Dec December 1 from 10.00 am to 20.00 pm, our audience can visit the stage placement at Yapı Kredi bomontiada, which is a complementary element of the game, with the ticket they bought for the game.

It lasts about 45'; There is no Dec.

GALATAPERFORM
Author: Ferdi Cetin 
Ruling: Yeşim Özsoy 
Dramaturgy: Ozan Ömer Akgül 
Cinematography and editing: Noyan Ayturan 
Light Design: Ayşe Sedef Ayter 
Music Design: Call Waiting 
Decor and Costume Design: Ferdi Cetin 
Decor application and Styling: Irem Dilaver 
Camera and Drone: Serdar Çam 
Project Assistant and Stage Manager: Senem Birlik 
Reji Assistant: Ahmet Ayaz Yılmaz 
Technical Team: Uğur Aksu, Umut Rışvanlı, Aslı Dinci 
Video Shooting Assistant: Nilay Yerebasmaz 
Players: Kübra Balcan, Yaman Ceri, Meral Çetinkaya, Banu Fotocan, Ahmet Ayaz Yılmaz

Abandoned shores // negative photos, which reveal an aesthetic from a combination of video, sound, performance and placement without bringing together the actors and the audience; it aims to transform its space with contemporary theatrical decks. Aiming to rethink and deconstruct the relationship between the place of view and the stage, the team thus opens up the two prime elements of the theatre to discussion. In the representation that the player's body and voice form a whole with all other theatrical means, a narrative of family decency is constructed that a family cannot come together. As the game venue is reorganized to trace the family's past, the audience will be involved in the multimedia performance that will take place at this venue through various tools. The audience, who will first participate in the game online in the virtual world, will not encounter a player in the sense that we know on the stage when they visit the place where the game takes place in the second stage.

Bonus: 5 online theatre suggestions 2020


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