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"Love is
sacred , deceit is evil, loneliness is painful, I am a Turk, I am
right, I am hardworking, I will marry and be the woman of my house”,
are these my own words?
What is love, what is deceit,
what is loneliness et cetera?
What parts of a story is real,
what parts are fiction? Could a woman turn into a theatrical hero? If
so, what parts are her own?In love, in deceit, in loneliness, in et
cetera, everyone tells her own story. Everyone’s story is real for her
own. The reality is the fiction its very self!
For life, all of us is et
cetera...
This play is a story of an
examination and search, experienced by any woman, in any place and
any time. The concepts of “construction” and “fiction” are
questioned within a feminist perspective, by looking at the small
sections of life from the two sides of a mirror and it tries to
express the concern of re-perceiving of life and of holding the ties
of the life.
Premiére:
January
23, 2003
Dates and places:
January, February and March 2003; November 2003 - Maya
Sahnesi
May 14, 2003 - Bogazici Üniversity
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DRAMATURG
Jale Karabekir
TEXT DESIGNER
Zeynep Kaçar
NARRATIVES
"Ferhat ile Şirin" -Zeynep Kaçar
"Şahmeran Hikayesi - Tomris Uyar
"Yalnızlığın Yaratığı İnsan" - Sait Faik
"Çocukluğun Soğuk Geceleri" - Tezer Özlü
CAST
Burçak Karaboğa- Zeynep Kaçar
MUSIC
Murat Hasarı
PUPPET DESIGNER
NerminEr
PUPPET IMPLEMENTATOR
Sema Tuna - Yaşar Kurtoğlu
SOUND RECORDING
Ümit Kıvanç
LIGHTS
Murat Kılıç
GRAPHICS
Pınar Kazma
PHOTOGRAPHY
Hadiye Cangökçe
TECHNICAL SUPPORT
Oğuz Kaynak |
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While playing Shirin, ten minutes
later being Shamaran, then being a star suddenly and a lonely
man and an insane woman, acting these one after another enrich
the actresses.
Ülkü Özel Akagündüz,
Zaman, April 3, 2003
In the second play of Theatre Painted Bird, love deceit
loneliness et cetera, again the invisibility of women’s
experiences, the gender roles that imprisoned them within the
relationship and especially their captivation in private sphere
and in primary relationships are criticized.
Melissa Bilal,
Pazartesi, November 2003
The play is ending with the meaningless words expressed through
the interview parts by giving the messages that these are the
forced cues of the life and because of this reason they do not
have a meaningful reality.
Devrim Umut Aslan,
Özgür Gündem, November 20, 2003 |
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