The Incident

The play revolves around a trivial incident that happens to the main character Salma, this incident will change her destiny and her priorities in life and eventually her attitude towards her political stand and involvement. Salma a 35 year old famous Arab actress who is preparing herself to travel to Europe to be honored for her work and achievements hits her eye and left face area with her car door by mistake as she was going to the embassy to start the long visa process. She is informed by her assistant about a schedule change to travel earlier. During the car incident, all her documents including passport, birth certificate, and her Jordanian ID card get lost. To retrieve copies of the documents, Salma has to visit a set of government entities where she experiences a set of incidents that are transformative to her individualism versus the collective activism. She finds herself in a demonstration, then in a reform dialogue mini-conference, then in the artists union, etc, until she reaches the Ministry of Interior where she says out loud her final political statement about revolutions and the power of the people in the Arab region.

Lick But Don’t Swallow! (Little Fantasy)

Lick But Don’t Swallow! (Little Fantasy) is a play written by Özen Yula that is one of the texts of his Objection Plays series. It is a story about a dream of an angel/porn star who tries to save humanity. By divine rule, angels are sent to the Earth once in every hundred years in a human body and they must convince at least one person to follow the moral goodness in their 24 hours. This is the only condition to stay as an angel for one more hundred years; and if she/he fails she/he will get stuck in the world as a mortal human being.

The play takes place on the set of a porn movie in Turkey where an angel finds herself in the body of a porn star named Leyla. She tries to raise awareness of set workers for the world matters while the filming of the porn movie scenes continues. According to the biriken, the duo staging the play, Lick But Don’t Swallow! (Little Fantasy) is on one side brings out present-day harsh realities through the porn star Leyla, “on the other hand, it chooses a platform where it cancels out everything it tells about, denies the reality surrounding us, and where the only reality is hedonism.”

Who Is It There? – Muhsin Bey’s Last Hamlet

Who Is It There? – Muhsin Bey’s Last Hamlet has a fictional story based on historical facts. The play’s text is written by the four members of the company some of who are also performers in it. In late 19th century during the last years of Ottoman Empire emerging modern Turkish speaking theater was performed mostly by non-Muslim population especially by Armenians. First Muslim woman performing on stage didn’t happen until 1919. When Modern Turkey was established in 1923 Muhsin Ertugrul became one of the leading figures to institutionalize western theater in Turkey. While Ertugrul mostly trained with old Armenian masters when he started his profession, they were mostly gone when he was running State Theater of Turkey.
In the play we see Ertuğrul in his late age getting prepared to direct Hamlet for a last time. Hamlet was also Ertugrul’s directorial debut in 1912. At that time he worked with Vahra Papazyan who Ertugrul calls his first theater teacher. Throughout the play ghosts of Papazyan and an imaginary actress Latife/Arusyak as the representative of the Muslim actress of the time, accompany Ertuğrul in his prep for the play by bringing memories from his unspoken personal history when he was building a national theater in Turkey with references to both Hamlet and Ertugrul’s career. By doing this, the audience starts to question the history of Turkish-Armenian theater people who we do not know well and whose tradition kept going in Turkish theater until today.

Funeral of the Acrobat

The play is a comedy about how the lives of people of a small town by the sea change from the effects of urban renewal. An old man Rasim, whose nickname is Acrobat passes away. He wants his three houses within a big land should be shared among his three children without being sold for urban renovations projects in town. He also requested from his children to be buried in this land upon his death. However, while he is on his deathbed, his children have already sold the land and the houses for a renewal project. The townspeople are also divided between supporting renewal projects or not. Two teenage grandchildren of Rasim secretly decide to realize their grandfather’s last will even if a bulldozer comes to demolish the land.
Play is written for two actors with no gender specifications. These two are mainly storytellers by being several characters throughout the story. This play is important in portraying the urban renovation processes that are taking place in Turkey after a more conservative government has started to build an economy based on the construction sector after the early 2000s. The micro-story that the play is about happens as similar ways for a lot of people all around the country who are in between defending personal urban memory and gaining more capital in an economy unsustainably growing.

You Are More Beautiful Than Istanbul

The play tells the stories of three generation women from the same family: Grandmother, mother and granddaughter. Even though they all grew up at different times in the same city, their struggles and finding a purpose in life as women do not change fundamentally for each of them. When the play first performed it was directed by the playwright himself. As it is described in the text three women sit on chairs side by side at downstage center without getting up most of the performance. They speak their own monologues to tell the parts of the story from their characters perspective which are written as if we listen to their stream of consciousness in relation to each other and the world they interact with. In staging style and directions with few props and limited physical movement, by most critics the play is often compared with Meddah tradition in Turkish theater which is a storytelling technique that is based on enacting several contexts of a story through different characters. What the play successfully achieves is giving insights to these women’s lives and connecting them to subjects such as change in the city, motherhood, problems of youth etc. When grandmother recalls her memories from her youth, we know the facade of the city with its history disappearing with big urban renewal projects, however struggles of being a woman still continues from how society represses them.

I Love You Turkey

The play tells the story of an unexpected encounter of five young people at a laundromat in the middle of Istanbul. One of them is an employee at the facility and the others are customers waiting for their laundry since there is a water supply cut in the neighborhood. At first they don’t seem like they have anything in common to share. However, once the employee suspiciously reveals a situation that may cause one of these customers to find themselves in a criminal offense, the story unfolds to present each character’s own perspective on how they see the society they live in. Text successfully utilizes post dramatic approach in its structure. While characters try to prove their innocence we hear conversations and monologues that are reflecting their positions and reactions for Turkey’s current political climate. Play’s choice of space and time playfully brings characters who are quite alike together so throughout the play it is possible to understand several perspectives about Turkey as if we are presented an extensive discussion of issues of 2010s such as Gezi Protests, recent military coup d’etat attempt and its aftermath, leaving country for good etc. Rather than constructing a definitive conclusion, the play poses several questions letting the audience keep themselves once the play is over such as: At which age does one feel themselves responsible about the issues of the world around them?

The Real Gala

The Real Gala is a comedy for two staged by Tiyatrotem. Mrs. Müesser and Mr. Lütfi who are not performers come to the stage for the first time to tell their life story. They can not start to tell their own stories since they are so excited about being on stage. What they try to tell about their life is based on third-page tragicomic news and today’s rated and popular television programs. Are they real or fake? When it comes to the pathetic stories, their presence on stage begins to change and they make the audience believe what they tell through the joyful and painful stories. However, in the end, they confess that none of them belongs to their own.
The Real Gala combines the traditional storytelling forms with the questions of representation and theatricality and it concerns the relations between the self and role, reality and fiction, telling and performing, authenticity and insincerity.

Layalina

In 2003, newly wed Layal plans a future with her family as they make plans to immigrate to the U.S. from Baghdad. 18 years later, just outside of Chicago, Layal’s life and responsibilities look unimaginably different from what she had envisioned two decades before. Layalina examines how families maintain their love in the midst of turbulent global and social change.

Fetch/Grab the King! Fetch/Grab Him!

Written mostly in an Iraqi dialect, the play is adapted from Aristophanes’ AssemblyWomen. Naeem added new characters like the First Chef and the Second Chef, who are both comedic and sarcastic. She also changed the characters’ names and some of their motivations, and took out sexual content and references. The story of the play starts when the women gather in the parliament in the absence of their husbands to form a government. They try several tricks on their husbands, so they don’t come to the parliament, such as hiding their socks or underwear. The play ends with the women declaring the formation of the women parliament. Both Aristophanes’ play and Naeem’s adaption criticize the current parliament led by men.

AssemblyWomen

Written mostly in an Iraqi dialect, the play is adapted from Aristophanes’ AssemblyWomen. Naeem added new characters like the First Chef and the Second Chef, who are both comedic and sarcastic. She also changed the characters’ names and some of their motivations, and took out sexual content and references. The story of the play starts when the women gather in the parliament in the absence of their husbands to form a government. They try several tricks on their husbands, so they don’t come to the parliament, such as hiding their socks or underwear. The play ends with the women declaring the formation of the women parliament. Both Aristophanes’ play and Naeem’s adaption criticize the current parliament led by men.