As a performer of 41 years who both, spiritually and physically, is stuck in and bored by the coup d’état, economic crises and political pressures in the Turkish context, I have fallen out with my profession as an actor by the decision of “not acting” the texts that the theater required from me. At the same time, I emancipated myself in the field of performance where, with a background in theater, I have chosen to use contemporary theater texts in ways that create a meaningful whole in terms of form and content, keeping up both: virtuosity in executing my task as well as a certain suspicion to the medium itself. The core of my performative search consists mainly of: exploration possibilities that emerge from using body-based material in ‘ugly’, ‘bad’ or ‘wrong’ ways - vocals, gestures, mimics, attitude, expression of emotion. By doing so, I aim at creating physical, emotional and political obstacles and challenges (such as walking on glass with bare hands and feet, using the national anthem on stage, fight an extreme need to sleep creating by sleeping pills on stage, challenging dogmatic religious rules, performing with tied up hands and feet).
The lecture series in English is open to all and free of entrance.
It is curated by Prof. Dr. Sandra Noeth and co-hosted by the MA SODA-students Kuba Borkowicz, Bernardo Chatillon, Jason Corff, Jorge De Hoyos, Ana Lessing Menjibar, Minna Partanen and Rhyannon Wagg.
Çağlar Yiğitoğulları studied Acting and graduated in 2001. The same year he went to Melbourne, Australia, to participate in movement and acting workshops for two years. In 2003, he moved to Istanbul and joined the Istanbul City Theater where he worked for 15 years on a life time contract. As an award-winning actor, he has been part in the staging of many local and foreign playwrights including Shakespeare, Beckett, Euripides, Gabriel Garcia Marquez and Ariane Mnouchkine at the Istanbul City Theatre and, in parallel, worked with Mün-chener Kammerspiele, with Theodoros Terzopoulos in Athens and Abattoir Ferme in Belgium. Furthermore, Cag-lar produced his own works in the field of contemporary performing arts and toured internationally. At the same time, the state-funded theater environment in Turkey is strongly influenced by predominant and conservative ideologies that find, e.g., expression in a strongly text-focused orientation of the theatre productions. As a consequence, Caglar left the country almost two years ago to Berlin.