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Plays

by Ceren Ercan

Boat People Projekt

Three playwrights have each written a mini-drama about their own vision of what society could look like in 100 years.

Three actors play these plays on stage.

The audience wears AR glasses and experiences an augmented reality! Next to the ensemble, objects fly through the air, virtual people interact with the real ones on stage.

Humanoids from a space debris disposal company struggle to clean up space while arguing about their existence, dreams come true in a tender love story between humans and robotic vacuum cleaners, and a theater company from the past finds new fame in the near future.

 

*The project idea has already been nominated for the audience award KULTURLICHTER 2020 - German Prize for Cultural Education from the Cultural Foundation of the Federal States and the Federal Government Commissioner for Culture and the Media.

fringe ensemble
Platform Theatre

What if citizens were actively involved in decisions about the principles that govern city life? What if they had the possibility to be heard and to discuss their opinions in a public yet protected space? How would they experience simultaneously leaving their comfort zones, overcoming barriers and meeting people they have never met before? This aspect of urban development   ensures a high quality of life beyond the exercise of building a functional infrastructure: the daily journey of equals towards a desirable future where dialogue guides us to and creates the Map to Utopia.

*Winner at the Festival A MAZE./Berlin!
A total of 251 projects by artists and ensembles from 48 countries had applied for the 10th INTERNATIONAL GAMES AND PLAYFUL MEDIA FESTIVAL “ A MAZE./BERLIN ”. With MAP TO UTOPIA, we were among the 25 nominees from which an independent jury chose the five most forward-looking works. We are very happy to be part of it and to have been awarded the Human Human Machine Award !

Staatstheater Nürnberg

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In her new piece for Nuremberg, Ceren Ercan sketches two people with a lot of humor and in a language that is as light-footed as it is metaphorically rich. Although both have a deep longing for closeness, they cannot overcome the deep gulf that separates their two worlds. In doing so, she casually deals with such fundamental topics as identity construction, gender standardization, and the patriarchal-colonial view of a majority society on supposed minorities.

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Istanbul Foundation for Culture and Arts

The production deals with the phenomenon of the so-called "cancel culture", which has emerged in recent years
through the new media and, not without humor puts the promise of the new media for justice and change up for discussion. Two people from different generations meet in an open dialogue and begin to think about the limits of humor by telling personal experiences.
 

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Staatstheater Karlsruhe

What makes thinking and writing about Europe still exciting is the fact that it still cannot be described quite sharply and therefore seems mysterious. In order to limit the broader meaning of the term Europe, we talk about EU politics and its decisions in everyday life. The idea of ​​Europe is still waiting to be understood as a concept beyond the EU. Those who insist on Europe's borders today are actually those who only yesterday tried to grab countries with discourses such as civilization and democracy as the result of a European expansionist policy. The more Europe fears and closes itself off from Islam and the foreign, the less able it will be to prevent immigration. On the one hand, the anger against migrants and the resulting populism is reviving a new national consciousness. Additionally, however, the irreversible existence of immigrants calls for a more liberal policy. In view of this contradictory situation, the extremely important question is whether we dare a real cultural diversity that would fundamentally change the face of Europe. If Europe is unwilling to change itself with its new guests and persists only in wanting to change them, the future is a big question mark.

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Bakırköy Municipality Theatre

“I Love You Turkey” drags us to a laundromat in Istanbul after five people. Looking for a place and a reason to exist in the changing conditions of the country, these five people wander within the limits of tolerance and coping during the time they spend in the laundry. Those who cannot find the language of self-expression, even those who give up searching for it and try to create their own agenda, come out of their hiding place.

 

Our muted voices; What kind of chaos does it create today when we come together? Does this chaos hide a new possibility for tomorrow? Some of those who cannot see themselves in the future of that country by looking at where a country is going, prefer to react to what is going on, and some prefer to delay this reaction. These five people are before us with all the confusion that their delayed reactions have created in their daily lives. This time they have to deal with the things they suppress and ignore side by side. What unfolds is a kind of spiritual carnival, like all things long waiting to be revealed, stands on the threshold between enthusiasm and fear. 

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Staatstheater Nürnberg

“I Love You Turkey” drags us to a laundromat in Istanbul after five people. Looking for a place and a reason to exist in the changing conditions of the country, these five people wander within the limits of tolerance and coping during the time they spend in the laundry. Those who cannot find the language of self-expression, even those who give up searching for it and try to create their own agenda, come out of their hiding place.

 

Our muted voices; What kind of chaos does it create today when we come together? Does this chaos hide a new possibility for tomorrow? Some of those who cannot see themselves in the future of that country by looking at where a country is going, prefer to react to what is going on, and some prefer to delay this reaction. These five people are before us with all the confusion that their delayed reactions have created in their daily lives. This time they have to deal with the things they suppress and ignore side by side. What unfolds is a kind of spiritual carnival, like all things long waiting to be revealed, stands on the threshold between enthusiasm and fear. 

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Platform Theatre

Ceren Ercan, who lives in Istanbul and is already well-known in the German theater scene, follows three young people on the streets of Berlin and Istanbul. They, all part of the so-called New Wave migration wave, tell of their everyday experiences, which are shaped by the current tensions between the two countries. All three figures describe themselves as the European face of Turkey. The current political climate in Turkey robs them of any belief in a future in their home country. And what does Berlin offer you?

fringe ensemble

Germany is one of the most popular immigration destinations for Turks. That hasn't changed in decades. But July 15, 2016, the day of the attempted coup in Turkey, marked the beginning of a new immigration movement. Most of the one-way tickets have Berlin as their destination. The German capital, which is already home to 200,000 people with a Turkish background, attracts intellectuals, journalists and artists, especially from the large metropolises of Ankara and Istanbul. Their paths rarely cross in Berlin with those who have lived there for a long time. The young, politically highly interested and dynamic diaspora already has its own name: They are the New Wave Berliners, searching for their own lifestyle, a new identity, under high pressure.

São Luiz Teatro Municipal
Istanbul Theatre Festival

The play The Rebellion Day of Dogs (2016), inspired by Madame Bovary and presented for the first time in a co-production between the Sao Luiz Municipal Theater in Lisbon and Platform, also deals with current Turkish society. It does so from the point of view of those who remain in the country and do not participate in the search for an ideal of Westernization. She takes as her image the maid Félicité, who remains silent throughout the novel until, after Emma's death, we see how she dresses her dresses in front of the mirror, revealing a contained longing.

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Ceren Ercan 
Gülce Uğur

May 31, 2013, in a circle of light, like a storyteller, Ali is at the airport and is looking for a taxi, after increasingly cumbersome checks – January 11, 2011, Egypt. The revolt thunders Tahrir Square. Khaled asks his wife, Bahar, not to go out. She needs a pharmacy. The BBC informs of the death of Mohamed Bouazizi, a young street vendor who set himself on fire a week earlier, on January 4, in Tunisia. The story goes back and forth between the countries in a revolution which seem to have the only way out “either Allah or the military. “The instructions circulate not to talk too much to others, to be wary of everything and everyone – January 30, 2011, Khaled, a pilot by profession, suggests leaving the country, leaving, anywhere, even at the hotel. Panic sets in. "At home, it's now hotels, planes..."

Past – Distant Home 2012. Baris arrives in Istanbul and returns to the family home where he finds his sister, Bahar, and his brother-in-law Khaled who have come to stay there for some time. In the United States, Baris had roommate problems, he approached poverty, "one can be homeless in New York" he says. Back home in this busy family home, everyone tells stories and looks at the other, close and different.

Passed – 2 houses 2011. Baris and Bahar trace the thread of their childhood, of their history. Baris takes stock of his belongings and expresses his dissatisfaction at not finding everything, distance and suspicion set in through life stories: Istanbul, United States, Cairo. "It's hard to go home without a job," said one. “There is no home anymore, a chimera, a ghost house,” says the other. In any case, the weight of the family, like a prison... These stories intertwined between individual memory and collective memory, plunge into the heart of reality, showing that social chaos engenders chaos and personal distress.

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oyun deposu

The constellation of three women is explosive. A woman with a headscarf, a Kurdish woman, and a lesbian woman – paths in life that do not necessarily cross in everyday life in Istanbul. With humor, overwhelming charm, and the body language of contemporary dance, oyun deposu challenges the audience to examine their own position in everyday life.

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