Concert Place Hour Ticket Prices


Date: 28 May Saturday 2016 / 16:00


Date: 20 May Friday 2016 / 20:30
Place: Kadıköy Theatron

Protagonists are all male

Date: 18 May Wednesday 2016 / 18:30
Place: Akbank Sanat


Date: 15 May Sunday 2016 / 14:00
Place: Salon İKSV


Date: 14 May Saturday 2016 / 10:00
Place: Sahne KHAS


Date: 05 May Thursday 2016 / 10:30
Place: Pera Müzesi Salonu

A panel with Robert Wilson

Date: 14 May Saturday 2016 / 17:30
Place: Pera Müzesi Salonu


Date: 06 May Friday 2016 / 10:00
Place: MSGSÜ Çağdaş Dans Ana Sanat Dalı


Date: 18 May Wednesday 2016 / 09:30
Place: MSGSÜ Çağdaş Dans Ana Sanat Dalı


Date: 18 May Wednesday 2016 / 10:00
Place: Fransız Kültür Merkezi

A panel with Claus Peyman

Date: 13 May Friday 2016 / 16:30
Place: Pera Müzesi Salonu


Date: 21 May Saturday 2016 / 15:00
Place: Nâzım Hikmet Kültür ve Sanat Evi


Date: 07 May Saturday 2016 / 15:00
Place: Üsküdar Tekel Sahnesi


Date: 07 May Saturday 2016 / 10:00
Place: Fransız Kültür Merkezi


Date: 21 May Saturday 2016 / 15:00
Place: SALT Galata


Date: 08 May Sunday 2016 / 16:30
Place: Fransız Kültür Merkezi


Date: 20 May Friday 2016 / 20:30
Place: Alt


Date: 22 May Sunday 2016 / 14:00
Place: Müjdat Gezen Tiyatrosu 29 Ekim Sahnesi


Date: 10 May Tuesday 2016 / 18:30
Place: Salon İKSV


Date: 22 May Sunday 2016 / 15:00
Place: The Marmara Pera


Date: 25 May Wednesday 2016 / 11:30
Place: Üsküdar Stüdyo Sahne


Date: 24 May Tuesday 2016 / 16:00
Place: MSGSÜ Çağdaş Dans Ana Sanat Dalı


Date: 08 May Sunday 2016 / 14:00
Place: Uniq Çocuk Atölyesi

The alternative film of independent souls is at the Istanbul Theatre Festival for the first time…

The documentary film Perdesiz Sahneler directed by Hakan Dursun which was realized in order to present the aims and perspectives of alternative theatre groups in Turkey on the processes of artistic creation and their physical struggle to survive and in order to demonstrate the impact of what they want to say on the art of theatre as well on the society in general, will be premiered on Saturday, May 28 in Salon İKSV.

For further information:

Turkish translation: Dilara Duymaz
Adaptation, space concept and performance: Paolo Musio
Turkish version and reading: Kerem Karaboga
Space Adaptation and Organization: Marta Montevecchi

As if we were in an anatomical theater, we examine the poor remains of the western man’s identity.  As in a courtroom we listen to an impossible testimony...

The text, as a litterary monstre, explores the theme of invisibility as a condition of the contemporary world, through the narration of Wells’ novel “The Invisible Man" and Cioran’s aphorisms from “The Trouble with Being Born” and “The Temptation to Exist”.

For further information and tickets:
0 541 739 47 24
0 216 345 18 28

Protagonists are all male, an adaptation from Duygu Asena’s novel Woman has no name and more…

The Project is organized by Duygu Asena’s close friend and colleague Ayşegül Sönmez, chief editor of, on the occasion of 70th birthday of Duygu Asena; the director and actor of the Project is the rising play-writer Kemal Hamamcıoğlu. Woman has no name, written through a woman protagonist, will be vocalized by men this time and all stories wished to be forgotten shall have a voice again.

Can Bonomo, Metin Akdülger, Emre Buga and  Kemal Hamamcıoğlu. What if a musician, an actor, a reporter (newsperson ya da journalist) and a writer vocalize the female protagonist of Duygu Asena’s autobiographic novel Woman has no name…

“Whatever is missing in one’s life is considered to be everything.” Duygu Asena, Woman has no name, 1987

Important note: Participation is limited to event. Invitations are distributed one hour in advance of the performance at the venue of Akbank Sanat, free of charge.

We are commemorating Bertolt Brecht, one of the leading thinkers and playwrights of the 20 century, on the 60 anniversary of his death with a panel organised by Istanbul University Haldun Taner Theatre Research Centre. The panel aims to bring together a group of people working in the field of social sciences and who approach Brecht from different perspectives and with different methods to study his plays and the situations in his plays from a contemporary point of view.

Session I  (14.00–15.30)
Moderatör Moderator: Oğuz Arıcı (Yazar Writer, Dramaturg, Öğretim Üyesi Lecturer / İstanbul Üniversitesi) Konuşmacılar Panelists: Emin Alper (Sinema Yönetmeni Film Director, Felsefeci Philosopher, Öğretim Görevlisi Lecturer / İstanbul Teknik Üniversitesi), Gökçe Çataloluk (Hukukçu Legist, Öğretim Üyesi Lecturer / İstanbul Bilgi Üniversitesi)

Session II (16.00–17.30)
Moderatör Moderator: Nilgün Firidinoğlu (Dramaturg, Araştırma Görevlisi Research Asisstant / İstanbul Üniversitesi) Konuşmacılar Panelists: Ali Cem Budak (Hukukçu Legist, Öğretim Üyesi Lecturer / Kocaeli Üniversitesi), Güven Gürkan Öztan (Siyaset Bilimci Political Scientist, Öğretim Üyesi Lecturer / İstanbul Üniversitesi) 

For reservation:

This workshop will focus on an applied analysis of the process of animating the text from an undetermined origin as an oral action of the actor; understanding and solving the problems of tone-memorising before verbalising the text or acting; preventing preset forms from previous plays. Headed by Çetin Sarıkartal, Head of Kadir Has University’s Theatre Department and Film and Drama MA Program Director, the workshop will be open to maximum eight people graduated from theatre and acting departments or acting professionals.

14.05.2016 Sa. 10.00–14.00
15.05.2016 Su. 10.00–14.00
16.05.2016 Mo. 10.00–14.00

Applications for the On the Intermediary Role of Sensory Impressions During the Process From the Text Towards Action masterclass are closed. Thank you for your interest.

The central theme of 3 International Interdisciplinary Theatre Meeting is Time/Space. rd Time and space are both broad concepts within the field of several disciplines ranging from philosophy, literature and science to art as they form the founding mode of being. “Being” becomes visible only through time and space. In the absence of a being, time and space appear to lack a meaning. In other words, it is impossible to speak of an absolute time or space. Time and space lose their meanings without a dynamic material, energy or human being in their own structure. Performance art can also exist through the mode of time and space. The “place” where the performance is displayed turns into a “space” a communicative geography. The performance both simulates a definite time and space and takes place in a definite time and space. In this way, the real time and space of the performance and the simulated time and space coexist in a dialogical relationship. We invite you all to the 3 International Interdisciplinary Theatre Meeting organised by Istanbul University Theatre Criticism and Dramaturgy Department, Istanbul University Haldun Taner Theatre Research Centre, rd Istanbul Theatre Festival, Pera Museum and Sentrodil to discuss and exchange ideas about time and space that are among the central concepts of human thought by means of dramatic literature, theatre and performance art. 

05.05.2016 Th. 10.30–19.30
06.05.2016 Fr. 10.30–19.30

Please click here for further information.

On Saturday May 14th at 17:30 in Pera Museum, a panel meeting will take place with Robert Wilson, the director of The Threepenny Opera, with the collaboration of Pera Museum. There will be a short introduction by Prof. Dr. Dikmen Gürün at the panel meeting with the ingenious artist Robert Wilson, also known as a stage wizard, and it will be moderated by Köken Ergun, a video artist who has worked with Robert Wilson between the years of 1997-2000 and whose work has since been exhibited at international museums and festivals.

Photo: Hsu Ping

Excluding the dance research and composition, this workshop is a focus on how you develop and settle your artistic vision through the presentation of a project, the building of a budget, the research of your artistic collaborators (dancers, dramaturgy, costume designer, music composer, set designer, video…), also the research for financial partners and eventually political issues. The aim is to visualise the development of your work and of your company regarding to the specificities of Turkish and European systems. Each selected choreographer will have to present for the workshop, a choreographic project (real or virtual) that will be studied during the two days. The project will include: Presentation of the project (text and references from the choreographer), artistic collaborations (dancers, composer, designer, video…), company team, a complete production budget, fees, a technical rider, video supports possible. Dedicated to a group of eight young professionals maximum. Born in 1972, Olivier Dubois made his debut as a professional dancer at age 23. Despite having the physique of a wrestler, he enjoyed a career as a dancer for a dozen years for choreographers as Karine Saporta, Angelin Preljocaj, Jan Fabre and Sasha Waltz, including also working in Las Vegas in 2003 with the Cirque du Soleil and Céline Dion. His first solo Pour tout l’or du monde was such a success at the Sujet à vif event in the AvignonFestivalthat he founded the Compagnie Olivier Dubois in 2007 to pursue his adventures in choreography and even received the Prix du Syndicat de la critique for his solo piece and for his accomplishments as a professional dancer. In October 2011, this atypical dancer was named one of the 25 top dancers in the world by the magazine Dance Europe. In 2012, he presented Tragédie at the Avignon Festival and had an enormous success and still touring all around the world. He was named best choreographer at the 2013 Danza&Danza Awards for the pieces Tragédie and Élégie. In 2014, he took the direction of Ballet du Nord, one of the National Choreographic Center in France. In January 2015, Olivier Dubois created Mon Élue noire Sacre # 2, solo for Germaine Acogny and, in June, a new solo untitled Les Mémoires d’un seigneur. His next creation, Auguri with 24 dancers, will be created in August 2016 in Hamburg and Biennale de la Danse de Lyon.

Deadline for aplications is April 1. Please send your and your company’s CV as well as photographs of your works and links to your previous two works.

06.05.2016 Fr. 10.00–19.00
07.05.2016 Sa. 10.00–19.00

With contribution of MSFAF Modern Dance Department.

With valuable collaboration of Institut Français. 

To apply:

The Contemporary Dance Techniques workshop will focus on the relationship of physical actions with dance movements and the parallelism between bodily affection and dance technique. Professional dancers and students of dance departments can participate in this workshop where exercises will be made to define dance as the change of dynamics, an ever-changing, unexceptional action of a person moving as a spatial being, and a state of being in time. The Dance Theatre and Improvisation workshop will focus on questions relevant to defining dance and acting as two separate things and settling of this independence. The workshop is open to professional dancers, actors and musicians as well as students of dance, acting and music departments. The two groups will stage a performance after the workshops. The workshops will be conducted by Dr. Selçuk Göldere. Participation will be limited to 20.

18.05.2016–22.05.2016 Workshop
Contemporary Dance Techniques 09.30–11.00
Dance Theatre and Improvisation 11.30–13.00
22.05.2016 Performance 15.00-15.45

With contribution of MSFAF Modern Dance Department.

Applications for the From Movement to Physical Actions workshop are closed.
Thank you for your interest.

IATC and its Turkish section TEB are organising Young Critics Seminar with the collaboration of Istanbul Theatre Festival. The seminars will be held in three different languages, English, French and Turkish and the moderators are Jean_Pierre Khan, Deepa Punjani and Oğuz Arıcı. The Seminars will take place between 16-21 May.

For further information and application please contact the following address:

The deadline for applications is April 20.

On Friday May 13th at 16:30 in Pera Museum, there will be a panel meeting with Claus Peymann, the artistic director of the legendary German theatre company Berliner Ensemble that will perform The Threepenny Opera in Istanbul, with the collaboration of Pera Museum, moderated by Prof. Dr. Dikmen Gürün.

Photo: Michael Kneffel

Vsevolod Meyerhold’s breakthrough creativity in 20 century theatre was indisputable and his relationships with poetry/poets always held a special place in his stage works. The change he brought to plasticity on stage, acting and directing were revolutionary and he utilised poetry-stage/staging relationship very often in the search for a new verbal conception for the stage. Nâzım Hikmet was closely involved in theatre throughout his life and wrote many plays himself. Furthermore, he always said Meyerhold’s theatre, which he met after the October Revolution, had a great influence on his artistic output. By artistic output, he meant the theatre-Meyerhold effect on his poems rather than his plays. In this panel, translator Ali Berktay, who compiled the book Tiyatro-Devrim ve Meyerhold (Theatre-Revolution and Meyerhold) will talk about the relationship between poetry and theatre taking Meyerhold and Nâzım Hikmet as an axis.

For reservation:

Halide Edib Adıvar was an important figure in Turkish literature with her novels, stories, memoirs as well as essays. She was passionately involved in theatre and was one of the first Turkish women to go on stage. She translated many Shakespeare plays and wrote one play herself during the last period of her creative life. The Mask and The Spirit written in 1945, published in English in 1953 and revised with modern Turkish in 1968, is a fantasy text about the meeting of Shakespeare and Hodja Nasreddin. This play is also important in that Halide Edip spent an important part of her life in the war fronts, yet she chose to write a pacifist play. Having said, “Those days, we did not have much of an idea about what was going on in the world and were undergoing a depressive and concerning state of mind in our country,” she later became more involved in the outer world during her days in exile, developed new and controversial ideas about human rights, democracy, freedom of expression and pacifism which ended up in her being excluded by the first intellectual of the republican period. For long years, she wasn’t able to come back to her country for which she fought so hard and led a lonely life trapped in between the Eastern and Western cultures. She started the introductory text of the play with the sentences; “I must admit that the darkness and confusion that dominated the pre-war days even confused Hodja Nasreddin at times. However, fantasies are confusing most of the time.” Interestingly, this play was attempted to be staged in USA more than her native country, but was abandoned on grounds that it contained too much imagination to be staged. In his master’s thesis, Nedim Saban studied on a new dramaturgical analysis and staging for the play. As theoretical as it was, the play will be presented in the form of reading theatre with music accompaniment and a motion pattern. A panel will follow on Halide Edib’s theatre. 

Written by: Halide Edib Adıvar Simplified, Adapted to Reading Theatre and Directed by: Nedim Saban Music: Çiğdem Erken Light Design: Hatip Karabudak Performers: Celile Toyon (Halide Edib Adıvar), Sezai Altekin (Nasrettin Hoca), Levend Öktem (Shakespeare), Ayşe Kökçü, Mahperi Mertoğlu, Metin ZakoğluEraslan Sağlam, Tiraje Başaran, Umut Demirdelen, Halim Ercan, Cem Güler, Dicle Alkan, Meral Asiltürk, Murat Usta, Umut Avcı, Koray Kurt, Murat Turhan, Ömer Acar, Ece Müderrisoğlu, Burak İlemler



Moderator: Prof. Dr. Ayşın Candan

Panelist: İpek Çalışlar, Dr. Esra Dicle, Nedim Saban


Reading Theatre 15.00
Panel 17.30
For reservation:

Headed by Bernard Faivre d’Arcier, who directed the Avignon Festival for fifteen years and has become one of the most key figures of this international organisation, the theatre criticism workshop will handle an in-depth analysis of a performance including text, staging, choreography, and acting. It will also provide an invaluable opportunity for information exchange about how the audience and critics view performance arts. Limited to 10 participants.

07.05.2016 Sa. 10.00–12.30 / 14.00–17.00

With valuable collaboration of Institut Français.


Fear sets in town after a bomb-loaded car explodes in the centre. When such fear sets in, planes become missiles, backpacks bombs and all bearded people potential enemies. Amor tries to proceed behaving “normally” in a threatening environment dominated by paranoia. On the other hand he answers calls from Shavi, Valeria, Ahlem and Tyra. Swedish playwright Jonah Hassan Khemiri, as in his other texts, puts the representation of refugees and foreigners in the centre and imposes a challenging task on the four actors who have to play thirteen characters. I Call My Brothers is an entertaining and resentful story on our prejudices against others and ourselves. After the reading of the play, there will be a panel with the creative team and Ali Arda, the translator of the play.

Directed by: biriken Performer: Rıza Kocaoğlu, Yelda Baskın, Ahmet Rıfat Şungar, Tuğçe Altuğ

With valuable collaboration of Swedish Arts Council and SALT Galata

For reservation:

Bernard Faivre was director of the Avignon Festival between 1980–1984 and 1993–2003. During his tenure the festival became a more professionally managed event, included dance in its programming and continued to develop. Based on his post as Prime minister counselor and his experience in the cultural scene, Bernard Faivre d’Arcier will tell us about one of the biggest festival of France through the issue of the organization of such a big scale event. Preregistration is required for participation.

With valuable collaboration of Institut Français.

Please click here for reservation.

Lives of two women, one who grew extremely tired of thinking about dance while writing her book Dans Düşüncesi (The Thought of Dance), and the other who resigned her post as an attorney in an international law firm to dance, intersect in dance and this performance is the product of their coming together. The performance takes place in a space enclosing the audience and is formed of a performative dialogue between these two dancerschoreographers whose aim is to talk by the discursive body about truth and move, taking the truth of dance as a starting point. The narrative is supported by conflicts, humour and sorrow, and the focus is on body in the search for expressive methods in dance.

Koreografi Choreography: Ayrin Ersöz Dansçılar Dancers: Canan Yücel Pekiçten, Ayrin Ersöz Ses Tasarımı Sound Design: Etem Kaplan Işık Tasarımı Light Design: Ayşe Sedef Ayter

20.05.2016 Fr. 20.30 (45’)
21.05.2016 Sa. 18.00 (45’)

With contribution of Alt.

For reservation:

This workshop will introduce the basic principles of biomechanics and use of body and study the relationship of these movements with the text. Conducted by Ayşe Emel Mesçi, the workshop will be limited to eight female and eight male participants.

22.05.2016 Su. 14.00–18.00

The applications for the Meyerhold Technique and Poetry workshop are closed since the quota for the workshop is full. Thank you for your interest.

Skärholmen Youth Theatre which is part of Stockholm City Theatre and the internationally acclaimed theatre Unga Klara have both established themselves as leaders in children’s and youth theatre and are known for their groundbreaking performances for all ages. Carolina Frände from Skärholmen will discuss the very particular approaches and methods they have developed for youth theatre in the Swedish suburbs. The two directors from Unga Klara, Gustav Deinoff and Farnaz Arbabi will talk about two of their most recent performances Girls Will Make You Blush and Vitsvit (Whiteblight). The plays make clear feminist statements both in terms of their content and form. Having been developed with their audience as a reference group, the plays discuss subjects such as puberty, belonging, the violence of language and generational conflicts. This is a rare opportunity to see some of the most exciting recent developments with a focus on feminism in children’s and youth theatre in Sweden today.

With valuable collaboration of Swedish Consulate in Istanbul.

For reservation:

Co-organised by the Istanbul Theatre Festival and the Actors’ Union, this panel will discuss the status and rights of all actors, dancers and performance artists working in performing arts in our country. What are the rights of theatre actors, dancers and performance artists? How should their contracts be drafted and what should the conditions be?

Having precious work, rehearsing without payment and sometimes even performing without payment, not being able to retire because of having been forced to work without any social protection, rehearsing or performing under difficult conditions and in unsafe working places, having accidents on the stage due to the lack of necessary safety measures, etc… Are all those natural consequences of the work of performing artists? Or, is another system possible? In fact, there are two possible reasons why an actor would not ask himself/herself these questions: either the system in the country where they work has already found the answers and the actor just enjoys his/her social and occupational rights, or these questions have not been asked for so long time in their respective country that he or she is no more able to realize that these questions should be asked. As the Actors’ Union of Turkey and the Istanbul Theatre Festival, we believe that it is time to find answers to these questions and that actors’ awareness on these matters should be strengthened. Therefore, we decided to organize this panel.

This panel will try to provide answers to these questions by comparing different examples in Europe and the world and further provide an in-depth evaluation of performance artists’ rights, which exist legally but not put into practice. The first collaboration between the Istanbul Theatre Festival and the Actors’ Union, this panel aims to offer practical solutions for professional actors, especially those working in the field of performing arts.


Denys Fouqueray, Actor, General Delegate of French Actors’ Union Fransız Oyuncular (SFA)
Emmanuel De Lange, Union specialist, UK Equity Industrial Organizer of Low Pay No Pay
Candaş Baş, Dancer, Choreographer
Meltem Cumbul, Actress, President of the Actors’ Union of Turkey.

Panel Chair: Sercan Gidişoğlu, Actor, Scholar, Board Member of the Actors’ Union of Turkey

P.S: There will be a Q&A and discussion session after the interventions of the panelists. There will be Turkish translation in the panel.

With valuable collaboration of British Council and Institut Français

For reservation:

In this short introduction to the fundamental principals of Spymonkey’s clown theatre, we will look at how to discover what makes you uniquely funny. Through clear and specific instruction, we will support you to develop and hone your comedic skills in a safe and fun environment, and practice making an audience belly laugh. A positive group dynamic will allow you focus on following your impulses, being spontaneous, adventurous and taking risks. In this highly enjoyable workshop you will play games, do exercises to develop trust and complicity within the group and with an audience. The sessions will be about creating a fresh, trusting and highly enjoyable workshop in an atmosphere of revelation to discover you’re funny. The workshop is open to professionals and limited to 24 participants.

25.05.2016 We. 11.30–14.30

With valuable collaboration of British Council. 

The applications for the Find Your Funny workshop are closed since the quota for the workshop is full. Thank you for your interest.

Born in 1981, Kerem Gelebek studied for two years at the Istanbul Conservatory of Dance before joining the Centre National de la Danse Contemporaine in Angers. He participated in performances by Jordi Gali, Nicolas Floc’h, Vera Mantero, Sylvain Prunenec, Ko Murobushi, Shelley Senter, Emmanuelle Huynh, Mustafa Kaplan, Filiz Sızanlı, Fanny de Chaillé, Philippe Ramette… In 2007, he coordinated the international festival Dance Camera Istanbul. In 2008, he began working with Christian Rizzo on the original productions mon amour (2008), l’oubli, toucher du bois (2010), Erwartung, Pierrot lunaire, La Voix humaine (2010 – a production by the Théâtre du Capitole de Toulouse) and is continuing alongside Rizzo with le bénéfice du doute (2012), the solo sakınan göze çöp batar (2012) and d’après une histoire vraie (2013). He will be meeting the Istanbul audience with d’après une histoire vraie. In this workshop he will talk about the development phases of the performance and focus on the process of turning improvisation into an experience. The workshop is open to dance department students and professional and limited to 20 participants.

24.05.2016 Tu. 16.00–18.00

With contribution of MSFAF Modern Dance Department.

Applications are closed. Thank you for your interest. 

A workshop for children between 5–6 age range. Haded by Mehmet Erbil, this workshop will provide the children with an opportunity to design their own imaginary heros and animate them on a theatrical stage that they design. Participation is limited to 15 who apply first.

With contribution of Uniq Istanbul.

For reservation: