YOLlanma - Theatron ToKosmo

YOLlanma/
Chronicle:
BIM (Institute for Research in Migration and Intercultural
Studies), House of History, Bonn (Germany); NHKKinki Concert Hall, Osaka (Japan) GTZ/Aleppo
(Syria); Cultural Association, Agdz (Morocco);
Syrian Embassy, Bonn (Germany); Basel University
(Switzerland); SOAM Zürich (Switzerland); Frankfurt
University (Germany); Film Festival for New German
Film, Hachenburg (Germany); Temps d’Images
Festival, Garajistanbul, (Turkey); Lincoln Theater,
Worms (Germany); Artists Forum, Bonn (Germany),
2010 Museum for Creative Art, Cologne (Germany),
“Istanbul Fashion” Exhibition 2010 (Turkey); Istanbul
Modern Museum, Istanbul (Turkey); Marta Herford
Museum (Germany)
beWEGen/Istanbul
transmedial
interactive
performance
TheatronToKosmo (Greek) “let this theatre be a play
to the world”
YOLlanma “... to be on the way ...”
This is the fifth Production in the beWEGen series
– the artist collective explores diverse cities (Kyoto,
Agdz/Marrakesh, Aleppo, London, Istanbul) “on the
move”.
There is an exhibition of the components of the
YOLlanma performance which includes the video
stills, the graphics, the paintings, the photography,
the object installations, audio installations. All the
components have been filmed for inclusion in the
performance.
www.theatrontokosmo.de
www.katharina-otte.com
by
[email protected]
TheatronToKosmo
dance
Eva-Maria Kagermann
music
Thomas Kagermann
PaintingFotoFilm/direction
Katharina Otte-Varolgil
„Es gibt keinen Weg. Nur gehen“.
(Sufi-Weisheit)
YOLlanma
„Komme immer wieder, egal, was du bist,
komm wie du bist..“ (Mevlana Rumi).
(„auf dem Weg sein“)
Konzeption
„Wir gehen, bleiben, beWEGen uns durch die Welt: Die künstlerischen
Transformationen münden in die Performance“.
Ein Ineinandergreifen von Bild/Tanz/Ton zur Schaffung einer transmedialen Sicht auf Istanbul. Vor/in einem animierten MalereiFotoFilm,
projiziert auf Großleinwand, tanzt eine Tänzerin expressive
Körperskulpturen. In Trialog dazu treten – live – Klanginstallationen
und Musik.
Die islamische Welt kennt einen gänzlich anderen Blick als die
westliche. Er möchte sich dem an sich Undarstellbaren nähern. Lesen
und Sehen geschahen lange bilderlos – eine visuelle Meditation wurde
angeregt (nach H.Belting, 2008).
In YOLlanma möchte TTK, einem hermeneutischen Zirkel gleich,
innere Bilder assoziieren lassen... Symbole, Rituale – streifen die
Kulturgeschichte Istanbuls, ohne abzubilden. Phasen des Lebens:
Geburt, Hochzeit, Jugend/Alter, Frau/Mann, Leben/Tod – Zeilen
berühmter türkischer Literaten ... immer auf der Suche nach ihrem
mystischen Ursprung.
Andere Welten warten unterhalb einer Oberfläche und jenseits
ihrer Gassen. Wo Sichtbares und Unsichtbares, Luxuriöses und
Baufälliges, Vergangenheit und Zukunft der Zeit/Raum-Membran
entweichen, wo die Sinne sich vermengen, erscheint Kunst in
verblüffenden Körper und Kopf reizenden Verbindungen.
Kleidung, Graffitis etc. sind individuelle Zeichen. Beim Gehen
‚lesen’ wir Typographien. Kunst ist Bewegung – Wanderung –
Dialog. Wanderung als zentrales Thema islamischer Spiritualität:
das Ich löst sich auf in der Hinwendung zum wahren Selbst, zum
Göttlichen.
Istanbul, die Grenze zwischen Asien und Europa, hat ein reiches
kulturelles Erbe, in Hinsicht auf das Judentum, das Christentum und
den Islam.
Orchon-Runen und turkmenische Teppichzeichen, Ornamente der
Seldschuken, Osmanen, moderne Grafittis werden isoliert und in
einen neuen (Um)Raum gestellt, so dass die Zeichen einen neuen
(Kon)Text ergeben. Immer wieder erinnern die Tanzeinlagen
an Rituale, Alltagshandlungen, die mithilfe von Requisiten
unterschiedlichster Zeiten einen innovativen Blick auf die Schätze
der Kulturgeschichte Istanbuls werfen.
„Wir haben hier keine bleibende Stadt,
wir alle sind auf der Wanderung“
(Mevlana Rumi).
“There is no way. There is only going”.
(Sufi wisdom)
YOLlanma*
An interweaving of images, dance and sound creating a powerful transmedia view of Istanbul.
In front of as well as in a animated painting photo film is projected on a big screen, a dancer
dances expressive body sculptures. Into this trialog is melted – live – sound installations and
music. Newer research in transdisciplinarity shows that art can at its best be “a spiritual
experience”. This was confirmed by the group in many different ways.
“We walk, we move through the world: The artistic transformation flows into the
performance”.
According to the art historian H.Belting (2008) the Islamic world has always known an
appearance which tries to come close to the unrepresentable. In YOLlanma TTK – similar to
an hermeneutic circle – enables associations with internal pictures ... Symbols, rituals - touch
the cultural history of Istanbul without drawing a fixed image. Phases of life: birth, marriage,
youth/old age, woman/man, life/death - lines from famous Turkish literary figures always in
search of their mystic source. Where the senses melt, art appears in an amazing body/mind
connection of enchantment.
“We are permeable membranes between time and space on the trail”.
Ornaments, clothes, graffiti and such like are individual signs. As we walk‚ we ‘read’ the
typography. Art is a movement – is wandering – is dialog. Wandering also as a central
theme of Islamic spirituality: The I dissolves itself by turning to its true nature, to the divine.
Istanbul, the border between Asia and Europe has a rich cultural inheritance, related to
Judaism, Christianity and Islam: Orchon runes, traces of the Turkomans, Byzantium, the
Great Seljuq Empire, Ottomans,.. together with modern Grafitti are isolated and given a new
context and script. The artists interact in the pictorial space – offering acoustic and moving
sculptures.
A complete artistic masterpiece: metanoieite (Greek)- to think anew, afresh
“Here we have no permanent towns, we are all
wandering on the way”
(Mevlana Rumi).
*Titel from Oruç Aruoba (Philosopher/Istanbul)
Translation: Raphael Rapsdoff
Testimonial
The premiere ... was a big success. The group gave a convincing and mature performance ... they
drew moving pictures ... a profound Istanbul experience ... poetic moments... the dance segments
full of irrepressible rhythm which evoked the hectic life in the mega city. Piece by piece a collage
developed of light, movement and sound, drawing a powerful, living picture of this incredible city on
the Bosporus ... a real pleasure...!
Dr. Patricia Brattig, Curator Istanbul Fashion, Premiere 6.11.2010, MAKK, Cologne
“... a huge interest and resonance amongst the spectators! (...) the artists with innovative art film,
soul inspiring dance and improvised music which is continuously changing reflect the “mystical
face” of this city...”
Bora Zerger, Hürriyet,
9/11/2010
Istanbul - What a different way of looking at this Eurasian metropolis.... suggestive and technically
well-done ... the projector becomes himself the dancer, the projection a live element ... as if under
the veil there is ‚only‘ a hint of air, just spirit, no time and no mortality ... melancholy – would there
not be this profound closeness to their souls and spirits which all the real identities (and differences)
of Istanbul bear on and on... Intergrated with its inhabitants ... to the life which depicts and unfolds
like the most typical and most secret inner principle of the city with this unusually picturesque film
portrait. – So beautiful, poetic – lyrical, and still at the same time markedly sensuously physical – so
can a city description be. ... a metaphysical perception ... wonderfully gentle with pastel-colored
picture aesthetics ... a mystical experience – the Klaus Otte’s ontology brought to life. The story ...
opens - for the real meeting...
Norbert Dennig, Kommunikation Movietypes, Filmmaker, Cologne
“... the dance is very East Asian as well as European ... servs to reminded one of Istanbul as the
connection between Europe and Asia. This overlapping of different layers, I was really pulled right
into it ...; - these light/ dark tones glowed; how the dancer’s white costume reflected the picture
images and she really danced into the picture ... so wonderful ... The dance was like calligraphy.”
Ping Li-Marx (Lecturer in Calligraphy and Chinese, University of Bochum, Germany)
“As far as the image plane is concerned, Katharina Otte-Varolgil has found a form to juxtapose
dynamism and statics ... she has found images for phenomena and then transposed the movement
sequences as metaphors ... dynamic phases of streams of images. The interaction between the music
and the dance creates a melting. The masterpiece comes to life reciprocally between the watcher
and piece. “
Prof. Dr. Klaus Otte, Religions Ontologe, Introduction in MAKK Cologne
“Dance Theater that touched the souls of those watching... What is shown is the world beyond the
superficial touristic view of Istanbul. This message is so fundamentally human that it can also be
understood in other cultural circles. Mysticism serves here as an interface for an integration aid
between people through art.”
Nadja Hoffmann-Heidrich, Rhein-Zeitung Newspaper,
17/11/2010
„Your performance was impressive and fantastic for me. I felt a kind of Japanese No from the
performance Bodies Crossed“
Prof. Hiroshi Utsumi, Kyoto University, NHK Sound Osaka – first TV channel of Japan, 2007
“beWEGen/move(London) – a totally innovative fusion of arts – I’ve never seen before”
Martin Hamdorf, Film critic, Berlin Film Festival for New German Film, Cinexx Hachenburg 2009
“Congratulations for this sensitive PaintingPhotoFilm.”
G. Götz (arp-Museum), Künstlerforum Bonn 2009
„Yol yoktur.Yalnızca gitmek vardır.“
Sufi Özdeyişi
YOLlanma *
Istanbul‘a etkileyici bir transmedial bakışın yaratımı için Resim/ Dans/ Ses‘in bir
içiçegeçişi! Büyük perdeye yansıtılan, anime edilmiş bir ResimFotoğrafFilm‘in önünde/
içinde bir dansçı dışavurumcu beden heykelleri dansı ediyor. Bu triolojiye -canlı- ses
enstalasyonları ve müzik katılıyor.
Disiplinlerarasılıkta artık daha da sıklıkla sanatın „ruhani bir yaşantı“ olduğuna işaret
ediliyor. Bu durum gruba (performanslarında) çokça yansıtılmıştır.
„Biz yürüyor, kalıyor, YOLlanıyoruz dünyanın içlerinde, sanatsal dönüşümler performansa
akıyor.“
Sanat tarihçisi H. Belting‘e (2008) göre; İslam batıdan farklı bir görme biçimini (BAKIŞI)
tanıyordu ve o gösterilemez, betimlenemez olana yakınlaşmayı deniyordu. YOLlanma
ile TTK da - adeta hermenutik bir açıdan -içsel resimler çağrıştırmak istiyor. Sembol
ve ritüeller Istanbul‘un kültür tarihi geçitini yapıyorlar. Yaşam dönemleri, doğum/düğün,
gençlik/yaşlılık, kadın/erkek, yaşam/ölüm, -ünlü Türk Edebiyatçıları‘ndan dizelerle, hep
mistik köklerinin arayışı ve izinde. Anlam ve duyguların kaynaştığı yerde sanat şaşırtıcı
olarak beden ve başı kışkırtan bağlantılarla ortaya çıkıyor.
„Biz şeffaf ve ince zarlarız zaman ve mekanın arasında, arayışta...“
Motifler, giysi, grafiti vb. bireysel işaretlerdir. Biz giderken „tipografileri“ okuyoruz. Sanat,
hareket, yürüyüş, diyalogtur. İslami spirüalitenin ana teması olarak harekette „ben“
gerçek olana, tanrısal olana yönelerek erir.
Asya ve Avrupa arasındaki sınır olan Istanbul‘un Yahudi, Hristiyan ve İslami bakımdan
zengin bir kültürel mirası var. Orhun Kitabeleri ve Türkmen halı motifleri, Bizans, Selçuklu,
Osmanlı ve modern grafitiler (performansta) ayrıştırılıp farklı bir dönüştürme bağlamında
yeni bir kon/texti, birlikte/metni oluşturuyorlar. Sanatçılar görselmekanın içinde - karşılıklı
etkileşimdeler - ve ona akustik, hareketli yontular sunuyorlar. Bütüncül bir sanat yapıtı;
Metanoieite (Yunan.) -Yeni düşün!(...)
*Başlık Oruç Aruoba‘dan (Felsefeci, Istanbul).
(Çeviri: Sedat Varolgil)
“Slides presented as an out of focus vision of an increasingly changing metropolis. TTK plays, dances
and paints the fascination of a British melting pot on the stage. With inexhaustible ingenuity the trio
creates the surging frequency of the pulsating city. Ecstatic pictures with shimmering beautiful sound.
In between dance – play with shadow and light. London smells, London swings, London tastes. Picture
image, sound, dance. Everything flows. Everything becomes one. Artistic stock-taking, distilled from
the haze of the urban city. A fusion of movement. The successful opening to the Rhineland-Palatine
cultural summer, 2009.”
Baatsch-Glaser, The Rhine-Main Weekly Newspaper, about beWEGen(London) - Lincoln Theatre Worms
in 2009; at the invitation of the Secretary of State for Culture.
“These different artistic disciplines ... manage to create a story full of imagination which is joined
together into a unity and creates new associations of ideas. Kagermann follows in the line of Mary
Wigman. German expressive dance tradition ... connects this language of movement with the other
languages with which she came into contact in a variety of geographies.”
Berna Kurt, Garajistanbul 2009
Painting Photography Film/Direction (Katharina Otte-Varolgil)
Drawings, paintings and film sequences flow into a picturesque film collage. With the artistic
means of creation of filigrain lines, the essence of the perceived environment emerges in
concentrated - calligraphic form: Characteristics of the city - from Arabian suras to modern
typsettings as a textile fabric. In the film she ‘paints’ unusual body images around the mystery of
the human being. By montage and superimposition she achieves a pictorial space, amongst other
things with the dance - ‘picture in picture’ situations, and by the inclusion of painted passages,
which she lets flow into each other with picturesque, abstract film sequences - schematic empty
spaces – space for the dance and the music. Rituals of a city are laid on a cerebral, abstract,
dynamic film bed. She is not interested in a representation of reality, but more establishing the
truth through the interfaces of the arts: phenomena of perception in an intercultural context.
(She has studied amongst others with Beuysschüler Prof. Dr. P. Rech, Studies in Calligraphy
(Kyoto) and studies with Butoh Masters.
Dance (Eva-Maria Kagermann)
The dancer follows the invisible footsteps of the city. The free dance appears live in the space
created by the picture, takes on filigrain lines. Body constellations seem to dissolve the borders
between stillness and movement in space and time – between chance and compositional
definition the dancer frees herself and creates with the image film and the music a new ‘Corpus’
(body). She dances in the expressive tradition of Mary Wigman and is inspired by Japanese
Butoh. (Her teachers amongst other were Keriac, Laban-Teacher, Sabine Seume, Tadashi Endo
and Masaki Iwana).
Composition/Sound installation/Music (Thomas Kagermann)
Also interactive, as it were corresponding to the contours of picture and dance, the melodic
– ‘flying’ violin meets the enrapturing, filigree flute tones – clear vocals meet a sound carpet
drifting away of loops and samples. The sound scenery becomes an architecture of Istanbul.
The musician has arranged various film soundtracks, has played with amongst others Jan
Akkerman, Nippy Noya, Andreas Vollenweider-Band, Klaus Schulze, Matthias Frey.