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Performing in a Landscape of Forgetting
Published online by Cambridge University Press: 13 November 2019
Extract
In the summer of 2018, the theatre company Hemhâl, which I co-founded with Nezaket Erden and Hakan Emre Ünal, travelled to a small village in southern Turkey. The main reason for our trip was to realize Nezaket's dream of taking her widely acclaimed solo performance, Dirmit, Dear Shameless Death, to the village where her extended family live. Furthermore, we thought that this performance could resonate with the villagers since it is an adaptation of a Turkish novel by Latife Tekin which talks about the struggles and internal conflicts of a migrant family moving from a small rural village to the big city.
- Type
- Reflections on Turkish Theatre
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- Copyright © International Federation for Theatre Research 2019
References
Notes
1 The only substantial analysis of this festival that is available online is Özgül Akıncı’s unpublished dissertation, ‘Humorous and Iconic Memory of an Art Event: Reading the Rural–Urban Divide in the Memory of Assos International Performing Arts Festival’ (2009), available at www.academia.edu/7668795/Humorous_and_Iconic_Memory_of_An_Art_Event_Reading_the_Rural-Urban_Divide_in_the_Memory_of_Assos_International_Performing_Arts_Festival, accessed 3 March 2019.
2 Schwartz, Joan M. and Cook, Terry, ‘Archives, Records, and Power: The Making of Modern Memory’, Archival Science, 2 (2002), pp. 1–19CrossRefGoogle Scholar, here p. 1.