Concert Place Hour Ticket Prices


Date: 12 November Sunday 2017 / 15:30
Place: TÜYAP Kitap Fuarı Heybeliada Salonu


Date: 13 November Monday 2017 / 14:00
Place: Moda Sahnesi


Date: 13 November Monday 2017 / 16:30
Place: Moda Sahnesi


Date: 16 November Thursday 2017 / 19:30
Place: Fransız Kültür Merkezi


Date: 18 November Saturday 2017 / 11:00
Place: MSGSÜ Bomonti Yerleşkesi 2. Kat


Date: 17 November Friday 2017 / 10:00
Place: Sahne KHAS


Date: 20 November Monday 2017 / 14:30
Place: Studio Oyuncuları


Date: 20 November Monday 2017 / 19:00
Place: Salon İKSV


Date: 21 November Tuesday 2017 / 19:00
Place: Salon İKSV


Date: 13 November Monday 2017 / 11:00
Place: bomontiada Alt

The living legend of Ancient Greek tragedies is in Istanbul in order to push the boundaries further. The founder of the Attis Theatre, Theodoros Terzopoulos, by bringing a modern light on Ancient Greek heroes and mythological gods, goes beyond times in pushing the limits of tragedy. Terzopoulos presents The Return of Dionysos as an examination of human existence and a call of fight. Because, “Dionysos is not around, he is exiled; the idea of confrontational human is missing”… So, “will Dionysos be back?” We will ponder with Terzopoulos on the answer to this question during a talk organised by Istanbul Theatre Festival and Habitus Book. Moderated by Kerem Karaboğa the event will be held as a part of the 36th International Istanbul Book Fair.

The passionate and dynamic Encore, which brings Theodoros Terzopoulos and the Festival audience together after seven years, is the last part of a trilogy. The audience will be introduced to the “before” of Encore via two special video screenings. The first two performances of the trilogy will be viewed on the screen.

Alarme depicts the love-hatred relationship between Queen Elizabeth and Maria Stewart Queen of Scots and their fatal conflict for the crown of Great Britain; a conflict that led to the decapitation of Maria Stewart. The performance is based on fragments from the correspondence between Queen Elizabeth and Maria Stewart, elaborated by Theodoros Terzopoulos. Apart from the two women, the stage is claimed by a third person, a narrator, who observes with sarcasm the anguish of the two queens.

Direction, Scenic Installation & Scenic Composition: Theodoros Terzopoulos Costume Design: LOUKIA Music: Panagiotis Velianitis Light Design: Theodoros Terzopoulos, Konstantinos Bethanis Hair Styling: Dimittris Palaiologou Technical Director: Konstantinos Bethanis Production Administration: Maria Vogiatzi Performers: Tasos Dimas (Narrator), Aglaia Pappa (Maria Stewart), Sophia Hill (Queen Elizabeth)

Amor, directed by Theodoros Terzopoulos, is a scenic composition based on a text written by Thanasis Alevras. Amor, first premiered on December 2013 and has since been presented in Attis Theatre, is highly appreciated by the audience and praised by the critics: “The stage becomes a place of an auction, where everything - roles, theatre accessories, emotions, memories, parts of human body - are being sampled, cost and purchased. The prices are affected by the fluctuations of the stock market. The actors ironically observe the contemporary situation; they interpret extreme behaviors of people manipulating and being manipulated by authority, in an era of crisis. However, everything is undermined by the promise of Amor, which could function as a driving force of humanizing”.

Direction, Scenic Installation & Scenic Composition: Theodoros Terzopoulos Casting: Aglaia Pappa, Antonis Myriagkos Music: Panagiotis Velianitis Costume Design: LOUKIA Light Design: Theodoros Terzopoulos, Konstantinos Bethanis Execution of Scenic Installation: Charalampos Terzopoulos Technical Director: Konstantinos Bethanis Production Executive: Maria Vogiatzi

Moda Sahnesi / Sinema
13.11.2017 Mo. 14.00
14.11.2017 Tu. 17.00
13.11.2017 Mo. 15.15
14.11.2017 Tu. 18.30
Greek with English subtitles.
Lasts app. 60’.
Free entrance. Due to the limited capacity of the venue, please make a reservation for the screening via from October, 13.

“The universal political, social and cultural landscape has been transformed in our era. Theatre has been homogenized and tends to be deprived by its particular characteristics and the influences of the great schools of the 20th century. Through the increasing idea of theatre’s commercialization the individuality of different schools and the distinctiveness of playwrights tend to be repealed. Theatre tends to have no fixed points of reference, roots or national characteristics. It seems to be dislocated and the national cultures seem to become fluid. Numerous questions are raised about the nature of the theatre today, the redefining of its function and objectives and its future. At any place of the universe one might look, apart from few exceptions, he sees the same theatre situation. Elementary theatre principles are vanished, history is repealed, while in the new social, economic, and cultural reality hybrids without theatrical roots are formed and actors deprived by the knowledge of theatre principles. For these principles, which tend to disappear, I would like to speak”. In order to enhance our apprehension of contemporary theatre and hear in person the call he makes regarding the essence of theatre we will get together with the greatest living master of Ancient Greek tragedies Theodoros Terzopoulos during a talk moderated by Kerem Karaboğa and presented by Dikmen Gürün.

Moda Sahnesi / Stüdyo
13.11.2017 Mo. 16.30–18.30
Due to the limited capacity of the venue, please make a reservation via from October, 13.


Blanche Neige is a great romantic contemporary ballet, based on the Grimm Brothers’ version of the fairytale. Angelin Preljocaj is working with all 26 dancers of the company on the most beautiful scores of Gustav Mahler’s symphonies. “I was very keen to tell a story, offer something magical and enchanted. No doubt it was to avoid getting into a rut. And also because, like everyone, I love stories. I have followed the version by the Grimm brothers, with just a few personal variations based on my own analysis of the symbols in the tale”. Blanche Neige is a narrative ballet with its own dramatic content. The places are represented by Thierry Leproust’s set. The 26 dancers of the company play their parts in costumes by Jean Paul Gaultier.

From celebrated film director, screenwriter, and Cahiers du Cinéma critic Olivier Assayas comes Eldorado / Preljocaj, a riveting, the documentary chronicling the efforts of Ballet Preljocaj to choreograph an otherworldly icon of 21st century music: Karlheinz Stockhausen’s ethereal Sonntags-Abschied. With a camera both patient and obsessive, as determined to translate gesture into film as Ballet Preljocaj is to turn tone into gesture, Assayas uses a voyeur’s eye to transform the private rituals of the rehearsal process into a public drama of human perseverance. If at times the audience sees the dancers’ bodies at one with Stockhausen’s electronic soundscape, at other moments, the audience sees the all-too-human flesh beautifully lost in translation. What results is a riveting testament to three arts in dialogue–and to the ineluctable human desire to translate one into another. Fascinated by the world of the famous choreographer, Angelin Preljocaj, Olivier Assayas attempts to reveal the secrets of creation by shooting the moments of joy and anguish of this ambitious piece.

With valuable collaboration of Institut Français.

Fransız Kültür Merkezi
Lasts app. 110’.
16.11.2017 Th. 19.30
20.11.2017 Mo. 19.30
Lasts app. 90’.
21.11.2017 Tu. 19.30
French with Turkish subtitles.
Free entrance. Due to the limited capacity of the venue, please make a reservation for the screening via from October, 13. In accordance with the security measures of the French Consulate, guests will be required to present a valid photo ID for entrance.

For those who feel or look like they are 45, who were once 45, and who wants to be introduced to 45 seconds long kinaesthetic structures, Tuğçe Tuna is holding a workshop as part of the 21st Istanbul Theatre Festival. 45+ unconditionally invites every ‘body’ who has invisible walls, silent limits, dark corridors, insecure bridges between dance and their bodies, or simply anyone who wants to just move and is looking for opportunities to open themselves up to dance. This workshop is an open environment for those bodies that feel, think or look like they are 45 and have a craving for dance and movement. With a holistic and inclusive policy, 45+ makes a point of creating a non-judgmental and liberated environment that is outside of the usual internal and physical forms. For the workshop, which consists of three segments titled Self Testimony, Urge, and Trust in the Unknown, the participants are required to dress in comfortable attire in order to move freely. No shoes are allowed. If you are interested in attending this two-day workshop please send your letter of motivation to by October 16.

Dance and performance artist, choreographer, director, movement and dance therapist. Tuğçe Tuna continues her work at international platforms such as SEAD Salzburg (2002–2015 guest instructor, choreographer), Vienna Conservatoire and Cologne HZT. In 1993, she started gravitating towards body science and psychosomatic work and continues her work on the therapeutic effects of dance and movement, kinaesthetic intelligence and awareness with different age and social class groups at international platforms. In 2001, Tuna started presenting her works and projects based on her independent production policy at international platforms and she continues with her innovative approach in contemporary performance arts. Associate Professor Tuğçe Tuna considers “the body as an intermediary space where the living person carries on with their own political agenda” and continues her work as the Head of Mimar Sinan Fine Arts University’s Department of Contemporary Dance.

MSGSÜ, Bomonti Yerleşkesi
Çağdaş Dans Ana Sanat Dalı
Şebnem Selışık Aksan Sahnesi
18.11.2017 Sa. 11.00–13.30
19.11.2017 Su. 11.00–13.30

An investigative workshop that explores and problematizes the theatre actor as a subjective and creative force. The workshop is divided into two parts. The first part is focused on more general questions around actor creative sensitivity and responsibility, within a collective. This includes discussions - and exercises - that revolve around improvisation, intuitive composition, creative communication and the hierarchy of expressions. The second part revolves around materials that the actors themselves choose and bring, for example a short monologue or a poem. Here the aim is to methodologically prepare the actor for taking compositional decisions about how to form, stage and perform a chosen text. It is only open to those actors who have been accepted to participate, but the workshop will end with a public presentation where the participants performatively reflect on the process, and on the questions and emotions that have been conjured up during the workshop. The workshop will be led by Swedish director, dramaturge, musician and theoretician Johan Petri. His work includes performances of an experimental type, where dance music and poetry have a major role, as well as performances based on plays of a more conventional character. Petri received his first diploma from The Royal Academy of Music in Stockholm and his PhD (directing and dramaturgy) from the University of Gothenburg. If you are interested in attending this three-day workshop please send your letter of motivation and English biographies to by October 16.

With valuable collaboration of Swedish Arts Council, Consulate General of Sweden and Kadir Has University.

17.11.2017 Fr. 10.00–14.00 | 16.00–20.00
18.11.2017 Sa. 10.00–14.00 | 16.00–20.00
19.11.2017 Su. 10.00–14.00 | 16.00–20.00

Time limit, space limit, rule and the necessity to be other... Spontaneity, responsability, skill and knowledge... The necessity to create and make happen in the present moment at every turn... The conditions of presence that one is obliged to willingly undergo in order for him/her to be called a player... The power to create in the face of all these conditions… The ability to devise and the courage to perform liberated by the consciousness of the present moment and the knowledge of “doing”... The redefinition of the boundaries between play and life...

If you are interested in attending this masterclass please send your letter of motivation to by Monday, October 16.

Şahika Tekand who in 1990 founded her own theatre ensemble, Studio Oyuncuları (The Studio Players) and developed her own method “The Performative Staging And Acting Method”, directed many plays and performances including the seven plays she wrote herself. With all of the plays written, directed and staged by her ensemble the Studio Players, Tekand was invited to and participated in many national and international festivals. She continues her artistic activities at the Studio Players and teaches at several universities besides training actors and directors at her acting studio.

Studio Oyuncuları
20.11.2017 Mo. 14.30–17.30

“Have you never done a good deed in your life?” This question that everyone asks themselves at least once in their lifetime was posed to young people in Hungary, Germany, England, The Netherlands, Serbia, Spain, France, and Sweden. Acts of Goodness, written by Swedish director and playwright Mattias Andersson who was inspired by the answers of the youth, will be staged as a reader’s theatre at the 21st Istanbul Theatre Festival. Following the reading directed by Yiğit Özşener, a Q&A will be held with the participation of Mattias Andersson.

With valuable collaboration of Swedish Arts Council & Consulate General of Sweden.

Salon İKSV
20.11.2017 Mo. 19.00
Due to the limited capacity of the venue, please make a reservation for the performance via from October, 13.

Producing art for children has different codes and methods that are distinctive to each country and culture. Even though the common goal is to introduce children to art, the methods that artists and educators who work in this field utilize vary from country to country. With this talk, we bring together a group of stage artists, literature and music professionals and invite them to share their experiences in producing art for children and talk about their creative process. In this talk, which will be the first collaboration between Istanbul Theatre Festival and Atta Festival, expert names in different disciplines of art will discuss how they conceptualize their work and what kind of experiences they garnered working with children. Teachers who are in direct contact with children, educators, volunteers, and artists who hold workshops on children’s education, families and of course children are the natural guests of the talk. Atta Festival, which started off inspired by children’s rights in culture and arts, is Istanbul’s only international children and youth festival and it features all forms of art and performance as well as technological and interactive contents. The annual festival takes place on the week of November 20, which marks the International Children’s Rights Day and in addition to theatre, dance, music, film, exhibitions, and performances designed for 0–3 year olds, 0–18 year olds and their adult companions, 0–18 year olds with disabilities and their adult companions, also features interactive content.

Salon İKSV
21.11.2017 Tu. 19.00
Due to the limited capacity of the venue, please make a reservation via from October, 13.

Speaker biographies

Born in Istanbul in 1979, Nisha Besara is an arts director of Syrian origin. Her family migrated to Sweden in 1980. Nisha began working as CEO of Unga Klara in 2015. From 1 January 2018 onwards, Unga Klara will function as Sweden's Official National Children's Theatre. Nisha writes articles for the Swedish newspaper, Expresssen.

Istanbul born writer went to the Austrian High School and graduated from Bosphorus University Department of English Language Teaching. Cetinel works as an instructor, consultant and shadow writer in Yeşim Cimcoz Writers House in Burgazada Sait Faik Museum. She organises story workshops for children and young people and works on social responsibility projects in various youth camps abroad.

Farnoosh was born in Iran and moved to the Netherlands with her family at the age of five. She was trained as a storyteller for children and in telling stories in Dutch Sigh Language. Farnoosh likes to tell stories; using different disciplines such as theatre, dance, music and the sign language. She is the director of Amsterdam based youth theatre group Degasten apart from being in the board of De Vrolijkheid, a foundation that organises art activities for children and youngsters in refugee centres.

She is an artist who had established her communication with existence through body, movement and dance. Tuna started dancing at the ADOB Children's Ballet in 1983. Since 1993 she has been taking part in national and international festivals, organisations and academies with her interdisciplinary modern dance and performing arts pieces, and her expertise in modern dance and contemporary movement techniques as a dance and performance artist, choreographer, director, movement and dance therapist. Associate Professor Tuğçe Tuna is still working as Chairman of Contemporary Dance Department at Mimar Sinan Fine Arts University.

Born in Ankara in 1966, she was graduated from İzmir Dokuz Eylül University, Department of Theatre Acting in 1988. After completing her master's degree on directing for theatre in 2000, she started her PhD. She has worked as a director in more than 20 projects until now. The play Frog Prince, which was staged by Zorlu Children's Theatre, won the Best Actress and Best Actor awards, and Wizard of Oz won The Best Production Award.

With reference to examining the function of theatre criticism, this workshop, organized by the Association of Theatre Critics and Istanbul Theatre Festival, aims to improve the practice of criticism through creating a platform for discussion by introducing the potent tradition of theatre criticism in Germany to theatre critics and reviewers in Turkey. Information regarding date, place and time will be subsequently announced through the website and social media accounts of Istanbul Theatre Festival.

With valuable collaboration of Goethe Institute.

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