{"id":136,"date":"2023-03-24T20:32:46","date_gmt":"2023-03-24T20:32:46","guid":{"rendered":"https:\/\/www.atlastiyatro.com\/?page_id=136"},"modified":"2024-09-23T07:49:13","modified_gmt":"2024-09-23T07:49:13","slug":"gecmis-oyunlar","status":"publish","type":"page","link":"https:\/\/atlastiyatro.com\/en\/gecmis-oyunlar\/","title":{"rendered":"Past Plays"},"content":{"rendered":"

Past Plays<\/h2>
<\/span><\/div>
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\"\"<\/div>\n\t\t<\/figure>\n\t<\/div>\n<\/div><\/div><\/div>

Caesuan's Good Man<\/h2>

About the Game<\/span><\/i><\/a><\/h4><\/div>
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This text, which Bertolt Brecht constructs through the character of Shen Te\/Shui Ta and presents the opposition between good and evil, emphasizes how difficult and testing the process of being a good person in social life is. The events that begin when Shen Te, a good Samaritan who tries to earn a living as a sex worker in a poor city, is rewarded by the gods, will cause the character, who cannot stand the exploitation of her good intentions, to create another identity named Shui Ta. The play reveals the difficulties of being good in the wild life conditions of capitalism, as well as how evil has become natural and incorporated into the system.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div>

Imprint<\/span><\/i><\/a><\/h4><\/div>
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Author: <\/strong>Bertolt Brecht
\nTranslation: <\/strong>\u00d6zdemir Nutku
\nDirector: <\/strong>Sercan Ozinan
\nDramaturg - Assistant Director:\u00a0<\/strong>Cinar Tasdemir
\nAssistant Director <\/strong>Zivan Arya \u00c7elik
\nMusic:\u00a0<\/strong>Paul Dessau
\nMusic Director\u00a0<\/strong>Metin Bahtiyar
\nVocal Coach\u00a0<\/strong>Adnan Ata Yigit
\nCostume and Stage Design:\u00a0<\/strong>Polat Canpolat
\nLight Design:\u00a0<\/strong>Ilayda Erdin\u00e7
\nMovement Pattern:\u00a0<\/strong>K\u00f6ksal \u00dcnal
\nPoster Design:\u00a0<\/strong>Ethem Onur Bilgi\u00e7
\nPlayers:\u00a0<\/strong>Abdurrahman Merall\u0131, Burcu Toku\u00e7, Ece \u00c7elik\u00e7apa \u00d6zinan, Enes Yavuz, G\u00fcl\u00e7in Yi\u011fit, Kardelen Arpac\u0131, Kutay Karag\u00fclle, L\u00fctfi Can Bulut
\nThank you
\n<\/strong>BAU Conservatory, Pat Workshop, Primat\u00f6lye, Rabia K\u0130P<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>

<\/span><\/span><\/span><\/span>\n<\/div>
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\"Uysal-Kad\u0131n-Afis\u0327\"<\/div>\n\t\t<\/figure>\n\t<\/div>\n<\/div><\/div><\/div>

Tame Woman<\/h2>

About the Game<\/span><\/i><\/a><\/h4><\/div>
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'After death, what truth is there to speak of?'
\nMaksim Gorki
\n<\/em>This story, which Fyodor Dostoevsky described as fantastic, was written just after a suicide.
\nis about the internal reckoning that follows. After her husband's suicide
\ntrying to find the cause and build bridges with the past, Adam tries to find out why she is dead.
\nconstantly trying to communicate with his body. But the 'truth' is never
\nas long as it is an unknowable and malleable phenomenon.
\nwill not fail to remind you.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div>

Imprint<\/span><\/i><\/a><\/h4><\/div>
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Fyodor Dostoevsky - The Tame Woman
\nTranslation: G\u00f6ksu Birol, Mehmet \u00d6zg\u00fcl and Mehmet Y\u0131lmaz
\nrewritten with the help of translations.
\nAdapted - Directed by: Sercan \u00d6zinan
\nAssistant Director \u00d6mer Faruk \u00c7i\u00e7ek - \u00c7\u0131nar Ta\u015fdemir
\nAssistant Zivan Arya Celik
\nDramaturgy Ece Celikcapa Ozinan
\nDecor - Lighting - Costume: Polat Canpolat
\nMovement Design: Dicle Dogan
\nDirector of Photography Emre Pek\u00e7ak\u0131r
\nPoster Ethem Onur Bilgi\u00e7
\nTechnical Responsible Cinar Tasdemir
\nCast: Burcu Toku\u00e7, Ece \u00c7elik\u00e7apa \u00d6zinan, Melih Efe\u00e7\u0131nar
\nThank you:
\nBAU Conservatory, G\u00fcne\u015f Uyda\u015f, PAT Workshop, Primat\u00f6lye<\/em><\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>

<\/span><\/span><\/span><\/span>\n<\/div>
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\"Yabanc\u0131-Oyun-Afi\u015f\"<\/div>\n\t\t<\/figure>\n\t<\/div>\n<\/div><\/div><\/div>

Foreigner<\/h2>

About the Game<\/span><\/i><\/a><\/h4><\/div>
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'Today my mother died; or yesterday, I don't know.'
\nAlbert Camus's The Stranger begins with the news of a death.
\nopens the door to a discussion about existence. Mersault's death and dying
\nthe instinct to live in response is nothing more than ordinary behavior. It is
\nmediocrity allows his memory to exist outside his own time and
\ninto obscurity. And so Mersault's timeless
\nHis memory becomes fragmented, fragmented and 'alien' to everything around him.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div>

Imprint<\/span><\/i><\/a><\/h4><\/div>
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Albert Camus - The Stranger
\nTranslation: Ay\u00e7a Sezen, Samih Tiryakio\u011flu and Vedat G\u00fcnyol
\nrewritten with the help of translations.
\nAdapted - Directed by: Sercan \u00d6zinan
\nAssistant Director \u00d6mer Faruk \u00c7i\u00e7ek
\nDramaturgy Ece Celikcapa Ozinan
\nDecor - Lighting - Costume - Mask: Polat Canpolat
\nMovement Design: Dicle Dogan
\nPoster Rabia Kip
\nCast: Abdurrahman Merall\u0131, Alper \u00c7ankaya, Ender Sakall\u0131, G\u00fcl\u00e7in Yi\u011fit, Hasan Demirci, Melih Efe\u00e7\u0131nar
\nThank you:
\nBAU Conservatory, Deniz Telek, PAT Workshop<\/em><\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>

<\/span><\/span><\/span><\/span>\n<\/div>
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\"\"<\/div>\n\t\t<\/figure>\n\t<\/div>\n<\/div><\/div><\/div>

Shadow<\/h2>\n\t
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YTD 8th Labor and Achievement Awards Special Theater Best Debut Play<\/strong><\/p>\n\n\t\t<\/div>\n\t<\/div>\n

About the Game<\/span><\/i><\/a><\/h4><\/div>
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Three 'male' childhood friends. A coincidence. A drinks table. And memories playing hide and seek in their minds. Unwanted events that follow like shadows. This game is the transformation of the memory that escapes being midwife into a game. And who is the midwife in this game?<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div>

Imprint<\/span><\/i><\/a><\/h4><\/div>
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By:<\/strong> Sercan Ozinan
\nManaged by:<\/strong> Ece Celikcapa Ozinan
\nAssistant<\/strong> Seran Yazici
\nMusic:<\/strong> Chevki, Sagopa Kajmer
\nStage Design:<\/strong> Onur Ozcan
\nPoster Design:<\/strong> Esma Eng\u00fcr
\nPlayers:<\/strong> Akdora Akalin, Ferit \u00c7elik, Hasan Demirci, \u00d6mer Faruk \u00c7i\u00e7ek, Sercan \u00d6zinan<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>

<\/span><\/span><\/span><\/span>\n<\/div>
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\"\"<\/div>\n\t\t<\/figure>\n\t<\/div>\n<\/div><\/div><\/div>

Nomad<\/h2>\n\t
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XIXth Direkleraras\u0131 Awards Children's Play Production Award<\/strong><\/p>\n\n\t\t<\/div>\n\t<\/div>\n

About the Game<\/span><\/i><\/a><\/h4><\/div>
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The play takes place between Palika, who is washed away by a storm and finds herself on a beach she has never seen before, and Putnik, who comes to camp on the beach. At first, Palika and Putnik are hesitant of each other, but in time they get along with each other, but there is a small problem: neither of them speaks the other's language. But how important is this for them? Will language be a barrier to help each other?<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div>

Imprint<\/span><\/i><\/a><\/h4><\/div>
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Designer:<\/strong> Alper Baytekin
\n<\/span>Managed by:<\/strong> Sercan Ozinan
\n<\/span>Assistant<\/strong> \u00d6mer Faruk \u00c7i\u00e7ek
\n<\/span>Music:<\/strong> U\u011furcan Karpuzo\u011flu
\n<\/span>Stage Design:<\/strong> Alper Baytekin
\n<\/span>Poster Design:<\/strong> M\u00fcjde Ba\u015fkale, G\u00fcl\u015fah \u00d6zdemir Kory\u00fcrek
\n<\/span>Players:<\/strong> G\u00f6zde K\u0131sa (\u00c7isem \u00c7anc\u0131), Ozan Karabulut (Ba\u011f\u0131\u015f Angig\u00fcn)\u00a0<\/span><\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>

<\/span><\/span><\/span><\/span>\n<\/div>
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\"Morgue<\/div>\n\t\t<\/figure>\n\t<\/div>\n<\/div><\/div><\/div>

Murder in the Rue Morgue<\/h2>

About the Game<\/span><\/i><\/a><\/h4><\/div>
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One of the most important names of 19th century literature, Edgar Allan Poe's The Murder in the Rue Morgue has been a source of inspiration for many writers and has remained popular for over a hundred years. Based on a newspaper article in France, this work is about the process of finding the murderer with the help of an analyst named Auguste Dupin, who investigates an unusual murder in the Rue Morgue. 'The truth is not always at the bottom of a well... We seek knowledge in the depths of valleys. It is at the top of the mountains...'<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div>

Imprint<\/span><\/i><\/a><\/h4><\/div>
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By:<\/strong> Edgar Allan Poe
\nTranslation:<\/strong> It has been rearranged using translations by Memet Fuat and Dost K\u00f6rpe.
\nAdapted-Directed by:<\/strong> Sercan Ozinan
\nDramaturgy<\/strong> Erdal Ozan Metin
\nReji Assistant<\/strong> Asya Ozk\u00f6k
\nStage Design:<\/strong> Emrah K\u00fcrek\u00e7i
\nCostume and Poster Design:<\/strong> Rabia Kip
\nLight Design:<\/strong> Utku Kara
\nPlayers:<\/strong> Beg\u00fcm Al\u0131nca (Duhan \u015eahin), Ece \u00c7elik\u00e7apa, Hasan Ali Y\u0131ld\u0131r\u0131m, Kamil Can Denizman (Ferhat Akg\u00fcn), Nevzat Cengiz (Veysel Alankaya), Sonat Din\u00e7ba\u015f (Deniz Telek), Umut Can Vicnelio\u011flu<\/p>\n

Thank you<\/em>
\nAli C\u00fcneyd K\u0131lc\u0131o\u011flu, Prof. Dr. Feray Odman \u00c7elik\u00e7apa, Hakan \u0130smail \u015eiriner, Tiyatro Oyunbaz<\/em><\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>

<\/span><\/span><\/span><\/span>\n<\/div>
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\"\"<\/div>\n\t\t<\/figure>\n\t<\/div>\n<\/div><\/div><\/div>

Agamemnon=Supermarket<\/h2>

About the Game<\/span><\/i><\/a><\/h4><\/div>
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About the Game: <\/strong>According to the legend in Aishkylos' Agamemnon, the great commander Agamemnon, who did not come empty-handed after the Trojan War, brought Kasandra as a trophy. So what happens when an ordinary man today returns home from the supermarket, not Troy, with a bunch of unrelated things he never wanted? This man, who loses control, piles the supermarket bags in front of us with all their weight and makes us ask the question while fulfilling his 'basic need': Where should we look for hope in this shitty tragedy?<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div>

Imprint<\/span><\/i><\/a><\/h4><\/div>
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By:<\/strong> Rodrigo Garcia
\n<\/span>Translation:<\/strong> Nihal Mumcu
\n<\/span>Managed by:<\/strong> Sercan Ozinan
\nStage-Decor-Lighting-Affiche Design:<\/strong> Ecem Dilan K\u00f6se
\n<\/span>Player:<\/strong> Vahit Sarittas<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>

<\/span><\/span><\/span><\/span>\n<\/div>
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\"Kafes\"<\/div>\n\t\t<\/figure>\n\t<\/div>\n<\/div><\/div><\/div>

Cage<\/h2>

About the Game<\/span><\/i><\/a><\/h4><\/div>
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The Hunger Artist is the last work written by Franz Kafka. The 'artist', who performs his art by starving, will continue to do so throughout his life. It is enough for him to be in the public eye and draw attention to himself. The manager, on the other hand, takes advantage of this hunger of the artist and turns it into a spectacular entertainment. In the adaptation process, Kafka's layered text has been faithful and the image of this entertainment has been made visible.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div>

Imprint<\/span><\/i><\/a><\/h4><\/div>
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Based on Franz Kafka's story 'The Hunger Artist';<\/p>\n

Adapted-Directed by:<\/strong> Sercan Ozinan
\nAssistant Director:<\/strong> Hasan Ali Yildirim
\nCostume Design:<\/strong> Hilal Polat
\nDecor:<\/strong> Sanem Gen\u00e7alp
\nPlayers:<\/strong> Deniz Telek, Hasan Ali Y\u0131ld\u0131r\u0131m, Sercan \u00d6zinan (Raci Durak, Yal\u00e7\u0131n Zobu)<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>

<\/span><\/span><\/span><\/span>\n<\/div>
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\"Hi\u00e7<\/div>\n\t\t<\/figure>\n\t<\/div>\n<\/div><\/div><\/div>

Never Rehearsed<\/h2>

About the Game<\/span><\/i><\/a><\/h4><\/div>
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The writer wrote it. The actor and director did no preparation. When you settle on stage, the actor will start reading the play he knows nothing about. And you will listen and play. Because the author wants that.
\nNote Nobody knows what will happen except one person.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div>

Imprint<\/span><\/i><\/a><\/h4><\/div>
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Coordinator<\/strong> Ece Celikcapa
\nPlayers:<\/strong> Each play is performed by a different performer.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>

<\/span><\/span><\/span><\/span>\n<\/div>
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\"D\u00f6n\u00fc\u015f\u00fcm<\/div>\n\t\t<\/figure>\n\t<\/div>\n<\/div><\/div><\/div>

Transformation<\/h2>

About the Game<\/span><\/i><\/a><\/h4><\/div>
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Franz Kafka's world-famous story still retains its popularity and contains a network of relationships that overturns almost all social values. The fact that the author makes this relationship situation visible through the concept of 'family' is undoubtedly the biggest factor in ensuring its popularity. The Samsa family, who shape their lives according to 'Gregor', who is also at the center as a staging, are subjected to a great 'Transformation' with the 'Change' of 'Gregor'. This 'transformation' takes place on the family. Gregor's 'Change' is the search for freedom of 'Gregor' who has been working for years and providing for his family and has no social life.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div>

Imprint<\/span><\/i><\/a><\/h4><\/div>
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By:<\/strong> Franz Kafka
\nTranslators<\/strong> It has been reorganized by using the translations of Ahmet Cemal, \u0130lknur \u0130gan and Yekta Majisk\u00fcl.
\nAdaptation - Dramaturgy:<\/strong> Ece Celikcapa, Sercan Ozinan
\nDirector:<\/strong> Sercan Ozinan
\nLight Design:<\/strong> Utku Kara
\nLight Application:<\/strong> Kerem Ozdogan
\nCostume Design:<\/strong> Hilal Polat
\nPoster-Teaser:<\/strong> Orkan Varan
\nPlayers:<\/strong> Alper G\u00fcnay, Ece \u00c7elik\u00e7apa, G\u00f6kay Mutafo\u011flu, G\u00f6zde K\u0131sa, Sercan \u00d6zinan<\/p>\n

Thank you<\/em>
\nOyunbaz, Hasan \u015eahint\u00fcrk, O\u011fuz Ar\u0131c\u0131, Aytun\u00e7 \u00d6zer<\/em><\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>

<\/span><\/span><\/span><\/span>\n<\/div>
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\"Werther&Lotte\"<\/div>\n\t\t<\/figure>\n\t<\/div>\n<\/div><\/div><\/div>

Werther&Lotte<\/h2>

About the Game<\/span><\/i><\/a><\/h4><\/div>
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Dear Wilhelm, I met a very beautiful woman here. Her name is Charlotte. I know that she is engaged to a very clever man, but that knowledge is of no importance to me. That's why she doesn't return my love. And I have decided, Wilhelm, that I want to die. And I need a few people to tell me.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div>

Imprint<\/span><\/i><\/a><\/h4><\/div>
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From the story 'The Sorrows of Young Werther' by J.W.Goethe;<\/p>\n

Adapted-Directed by:<\/strong> Sercan Ozinan
\nChoreography<\/strong> Hartvig Hansen
\nLight Application:<\/strong> Kerem Ozdogan
\nCostume<\/strong> Beril \u00d6ke G\u00fclen
\nPoster Design:<\/strong> Ceyda Karadas
\nPlayers:<\/strong> Ece \u00c7elik\u00e7apa, Esra Ya\u015far, Gizem Pilavc\u0131, \u00d6zge \u00d6zt\u00fcrk, \u00d6zg\u00fcr \u00d6zcan<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>

<\/span><\/span><\/span><\/span>\n<\/div>
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\"Yuva\"<\/div>\n\t\t<\/figure>\n\t<\/div>\n<\/div><\/div><\/div>

Nest<\/h2>

About the Game<\/span><\/i><\/a><\/h4><\/div>
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A mole-human builds its nest and begins to build a relationship with it. But this relationship takes a strange turn as time passes. Is the nest a place of refuge, a place of escape, or a place of freedom?<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div>

Imprint<\/span><\/i><\/a><\/h4><\/div>
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From the story of the same name by Franz Kafka;<\/p>\n

Adapted and Acted:<\/strong> Sercan Ozinan
\nPoster Design:<\/strong> Ceyda Karadas
\nOther Things:<\/strong> Atlas Theater Research<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>

<\/span><\/span><\/span><\/span>\n<\/div>
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\"Franz<\/div>\n\t\t<\/figure>\n\t<\/div>\n<\/div><\/div><\/div>

Grete Samsa<\/h2>

About the Game<\/span><\/i><\/a><\/h4><\/div>
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Trapped under the guise of love, children accepted the power that ruled them and established standards of behavior that they would maintain.*<\/p>\n

*Ritchie Robertson 'Kafka' pg. 100<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div>

Imprint<\/span><\/i><\/a><\/h4><\/div>
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Based on Franz Kafka's story 'Transformation';<\/p>\n

Adapted and Acted: <\/strong>Ece Celikcapa Ozinan
\nPoster Design:<\/strong> Emre \u00d6zerden<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>

<\/span><\/span><\/span><\/span>\n<\/div>
<\/span><\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"Past Plays Sezuan's Good ManAbout the Play This text, which Bertolt Brecht constructs through the character of Shen Te\/Shui Ta and presents the opposition between good and evil, emphasizes how difficult and testing the process of being a good person in social life is. The events that begin when Shen Te, a good Samaritan who tries to earn a living as a sex worker in a poor city, is rewarded by the gods, [...]","protected":false},"author":1,"featured_media":272,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-136","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/atlastiyatro.com\/en\/wp-json\/wp\/v2\/pages\/136","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/atlastiyatro.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/atlastiyatro.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/atlastiyatro.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/atlastiyatro.com\/en\/wp-json\/wp\/v2\/comments?post=136"}],"version-history":[{"count":34,"href":"https:\/\/atlastiyatro.com\/en\/wp-json\/wp\/v2\/pages\/136\/revisions"}],"predecessor-version":[{"id":322,"href":"https:\/\/atlastiyatro.com\/en\/wp-json\/wp\/v2\/pages\/136\/revisions\/322"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/atlastiyatro.com\/en\/wp-json\/wp\/v2\/media\/272"}],"wp:attachment":[{"href":"https:\/\/atlastiyatro.com\/en\/wp-json\/wp\/v2\/media?parent=136"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}