text Özen Yula direction, stage design and video biriken with Cem Baza, Ozan Güçlü, Yusuf Sefaoğlu, Semi Sırtıkkızıl, Zeynep Su Topal, Ertuğrul Aytaç Uşun and Meral Çetinkaya in the recorded video lighting design Cem Yılmazer sound design Ömer Sarıgedik costume Ünal Bostancı asistants Efe Durmaz, Elif Okyay, Süda Köse co-producers Wiener Festwochen, Istanbul Theatre Festival thanks to SALT Galata, Galata Perform, bantmag. havuz, Yapı Kredi Bomontiada, TOY İstanbul, Franz von Bodelschwing, Kaan Karacehennem, Can Tezan, Selçuk Eren Kale
SAHİBİNDEN KİRALIK
Büyük bir kentin ortasında bir park. Hava kararınca gizli değiş tokuşların merkezi haline gelen, kendine göre kuralları, yetkilileri, deneyimlileri ve müşterileri olan. Ekonomik çıkmaz ve göç gerçeği ile zorunlu olarak biçimlenen hayatlara sahip olan gençlerin, gözetleme toplumu ve şiddetin sıradanlığı arasına kıstırıldığı; arzu alışverişlerinin ise ikiyüzlü ahlak anlayışından pek kopamadan yaşandığı bir park burası. Bu parkın içindeki, birbirini tamamlayan altı kişinin hikâyelerinden oluşuyor Sahibinden Kiralık. Buradaki seks işçileri ilişki, cinsellik ve aşk arasında devamlı olarak sınırlar çizmeye çalışarak başkalarının onların erkekliklerine bakışlarını düşünmeden edemezler. Çünkü hep ‘herkes bize bakıyor’dur.
Parka yeni gelenlerden Adnan ile genç Simay arasında bir aşk doğar. Yalanlar, hayaller, güç savaşlarının eşlik ettiği, parktakilerin varlığından da bağımsız yaşanamayan çok kısa bir ilişki olur bu. Adnan’ın ateşli arzusu, Simay’ın aşklarını Yeşilçam filmleri kurgusuyla yaşama isteğiyle çarpışır; cinayet, öç alma ve öte dünyaya kadar süren bir acı çekişle bir kavuşamayan aşıklar efsanesi doğar. Hayatları gibi eksik, görkemden uzak, sadece kendilerinin bildikleri bir efsane olacaktır bu.
Simay’ın da söylediği gibi “gece geç vakit televizyonda izlenen siyah beyaz eski bir film gibi” geçemeyen bir hayatı konu alan Sahibinden Kiralık; kısa, gerçekçi diyaloglardan yola çıkıp zaman algısıyla oynayan monologlara eviriliyor. Oyunda kadrajın içinde ve dışında; park mezara dönüşüyor, bir mezarın üstüne bir park inşa ediliyor. Sadece yer verdiği sinema referansları ile değil yazım üslubuyla da sinematografik bir yapıyı çağrıştıran Sahibinden Kiralık’ı çalışırken; bu yapıyı sahnede yaratmak için sinema illüzyonu ile yarışmak yerine görselliğin ve temsilin analizini sahnede gerçekleştirip, tiyatraliteyi ve alanını yeniden düşünme yolunu seçtik.
Geçmiş temsiller:
+ Prömiyer: 26 Kasım 2019, TOY İstanbul, 23. İstanbul Tiyatro Festivali
+ 29 Kasım 2019, TOY İstanbul, 23. İstanbul Tiyatro Festivali
+ 5, 12, 19, 26 Aralık 2019, TOY İstanbul
+ 9, 16, 23, 30 Ocak 2020, TOY İstanbul
+ 13 Şubat 2020, TOY İstanbul
+ 27 Şubat 2020, TOY İstanbul
+ 5 Mart 2020, TOY İstanbul
+ 9, 10, 11, 12 Haziran 2021, Wiener Festwochen, Viyana.
À LOUER
« Panorama sur l’état d’une jeunesse turque en déshérence, For rent articule théâtre et cinéma sous la houlette du duo d’artistes Melis Tezkan et Okan Urun. Une forme originale où l’histoire d’amour d’Adnan et Simay tente de prendre vie dans un grand parc semblable à un cimetière. Ici, les désirs se télescopent, sur fond de travail du sexe, de violence économique et de surveillance globale. À partir d’un texte d’Özen Yula, écrivain turc contemporain, For Rent croise donc destinées sans espoir et réflexions métaphysiques autour de vies dans lesquelles tout se répète sans cesse à l’identique. Le tout dans une esthétique mélangeant téléréalité et cinéma en noir et blanc. Un format hors-norme, inédit en France, tout droit venu d’Istanbul. »
De la brochure du FARaway festival des arts à Reims, 2021.
Un parc au centre d'une grande ville. Ses lois, ses gérants, ses habitués et ses clients. Quand la nuit tombe, le parc se transforme en un lieu d’échanges discrets. C’est le parc de ces jeunes gens qui, entre la surveillance et la violence quotidiennes, mènent des vies marquées par l'impasse économique et l'immigration. Ici, le désir sexuel se consomme à l'ombre d’une morale hypocrite. A Louer raconte les histoires entrelacées de six personnages qui habitent ce parc. Les hommes qui y travaillent essaient de dessiner des frontières entre la relation, la sexualité et l'amour. Ils ne peuvent s'empêcher de penser au regard des autres sur leur virilité. Parce que "tout le monde nous regarde", toujours.
Un amour naît entre le nouveau venu Adnan et la jeune Simay. Faite de mensonges, de rêves et de luttes de pouvoir, leur histoire sera courte et non indépendante des autres travailleurs du parc. Le désir passionné d'Adnan se heurte au souhait de Simay qui veut vivre un amour comme dans les films de Yeşilçam. Meurtres, vengeances et douleurs interminables qui continuent même après la mort font naître une légende d’amour. Une légende incomplète, à l’image de leur vie, loin de toute splendeur et qui n’est connue que par eux-même.
Focalisée sur des vies qui, avec les mots de Simay, “ne se déroulent pas comme dans un film en noir et blanc qu’on regarde tard dans la nuit à la télé”, A Louer combine des dialogues brefs et ancrés dans la réalité pour ouvrir à des monologues qui brassent la chronologie. Dans le champ et le hors-champ, le parc se transforme en cimetière ; un autre parc se construit sur ce même cimetière. A Louer évoque le cinéma par ses références à Yeşilçam mais aussi et surtout par ses dialogues qui flirtent avec l'écriture scénaristique. Au lieu de concurrencer vainement l'illusion du cinéma, nous avons créé sur le plateau un dispositif d’analyse de l’image et de la représentation pour ainsi repenser la théâtralité et son mode opératoire.
Dates passées :
+ Première : 26 novembre 2019, TOY İstanbul, 23th Istanbul Theater Festival
+ 29 novembre 2019, TOY İstanbul, 23th Istanbul Theater Festival
+ 5, 12, 19, 26 décembre 2020, TOY İstanbul
+ 9, 16, 23, 30 janvier 2020, TOY İstanbul
+ 13 février 2020, TOY İstanbul
+ 27 février 2020, TOY İstanbul
+ 5 mars 2020, TOY İstanbul
+ 9, 10, 11, 12 juin 2021, Wiener Festwochen, Vienne.
*Les dates du février 2021 en France, à la Comédie de Reims, au Festival FARaway n'ont pas pu avoir lieu à cause du contexte sanitaire.
FOR RENT
“An ensemble of marginalised characters haunts a park in Istanbul, like ghosts. Absorbed by the vastness of the city, they have turned to sex work and now live within a system of dependencies, wondering about the possibility of relationships that are not determined by money. But how can you ever hope to be free when life itself is never really yours, but For Rent? With this merry dance of alternating scenes, author Özen Yula describes a clandestine subculture that reproduces corrupt social power structures, but also transgresses them in tender moments of togetherness. Melis Tezkan and Okan Urun, who collaborate under the name biriken and are a new discovery for Vienna, created one of the first stage productions of the text originally published in 2002. The concentrated staging contrasts the impact of the content with the minimalism of the setting. A park bench and two projection surfaces are enough to propel these remarkable actors into a cycle of crime and taboo. In a hopeless place, they are ever hopeful.”
From the catalogue of Wiener Festwochen, 2021
A park in the middle of a large city. A park, which becomes a hub for shady deals when it gets dark, that has its own rules, authorities, veterans and clients… This is a park where the economic crisis and reality of migration have forcefully shaped the lives of young people that are trapped between a society of snoops and the mundaneness of violence; where the trade of sexual desire can’t escape moral hypocrisy… For Rent is composed of the stories of six people in this park that complete each other.
The people who work there, on one hand, continuously attempt to set boundaries between relationships, sexuality and love, they cannot but think how others see them. Because “everyone’s looking at us” all the time. Love flourishes between newcomers of the park, Adnan and young Simay. Accompanied by lies, dreams and power struggles, and unable to be experienced independently from the others in the park, it becomes a very short-lived relationship. Adnan’s fiery desire clashes with Simay’s wish to experience love in the style of Yeşilçam movies. An unfulfilled love story legend is born, complete with murder, revenge and transcendental suffering. This legend will turn out to be just like their lives; incomplete, far from grandeur, and only known to them. Based on life that, in Simay’s words, can’t be like “a black and white movie you watch on TV late at night” For Rent starts with brief, realistic dialogues and evolves with time warping monologues.
In the play, in and out of the frame, the park becomes a graveyard, and a park is built on a graveyard. For Rent bears similarities to a cinematographic structure not only for the references to cinema it contains but also for its style of writing.
While working on For Rent we decided not to compete with the cinematic illusion to create this structure on the stage, instead, we chose to rethink theatricality and its space, and create an analysis of visuality and representation on the stage.
Past shows:
+ Premiered on Nov 26, 2019, TOY İstanbul, 23th Istanbul Theater Festival
+ Nov 29, 2019, TOY İstanbul, 23th Istanbul Theater Festival
+ Dec 5, 12, 19, 26, 2020, TOY İstanbul
+ Jan 9, 16, 23, 30, 2020, TOY İstanbul
+ Feb 13, 2020, TOY İstanbul
+ Feb 27, 2020, TOY İstanbul
+ Mar 5, 19, 2020, TOY İstanbul
+ Jun 9, 10, 11, 12, 2021, Wiener Festwochen, Vienna.
*The dates of For Rent at FARaway Festival in La Comédie de Reims (Reims, France) did'nt take place due to sanitary situation.