BECOMING A RHINOCEROS 2.014

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DATE AND VENUE

04.06.2014, 20.30
05.06.2014, 20.30
Üsküdar Tekel Sahnesi

Lasts 65’; no intermission.

STUDIO OYUNCULARI

  • Written and Directed by: Şahika Tekand
  • Décor/Costume Design: Esat Tekand
  • Lighting Design: Şahika Tekand
  • Director’s Assistants: Ayşegül Cengiz Akman, Ayşe Draz, Verda Habif, Nagihan Gürkan, Selen Kartay, Nesli Kayalı, Arda Kurşunoğlu, Nilgün Kurtar, Mehmet Okuroğlu, Tulu Ülgen
  • Actors (in alphabetical order): Serkan Abeş, Burcu Afşin, Ayşegül Cengiz Akman, Huriye Aliefendioğlu, Alp Alpergün, Ayşegül Altan, Zeynep Altop, Seda Arık, Onur Berk Arslanoğlu, Cansın Asarlı, Nazlı Atayman, Melis Avçil, Barış Bahçeci, Bengü Bektaş, Cem Bender, Demet Bendik, Gizem Bilgen, Jankat Bozkurt, Gamze Dirlik, Umut Doğanay, Ayşe Draz, Seda Fettahoğlu, Giray Girişken, Mehmet Günal, Nagihan Gürkan, Verda Habif, Ayhan Hülagu, Deniz Karaoğlu, Selen Kartay, Nesli Kayalı, Ebru Kaynak, Atagün Mert Kejanlıoğlu, Oğulcan Kızgınkaya, Nazlı Deniz Korkmaz, Arda Kurşunoğlu, Nilgün Kurtar, Cengiz Macun, Nihat Maça, Mehmet Okuroğlu, İlksen Gözde Olgun, Yalın Önal, Demet Özbay, Özgür Özcan, Sarper Özcan, Serpil Özcan, Melike Özkarakahya, Nazlı Özkartal, Özgür Özkurt, Can Özmen, Ahmet Sarıcan, Şinasi Sırkıntı, Ebru E. Süren, Gül Şener, Pınar Tamer, Cem Taylan, Şahika Tekand, Kısmet Tekinbaş, Hakan Turutoğlu, Ilgıt Uçum, Arda Uğurlu, Tulu Ülgen, Lale Yekeler, Nihan Yığın, Duru Yücel, Yasemin Yüksel, Nedim Zakuto
  • Thanks to: FABRİKA, Converse

Becoming a Rhinoceros written by Şahika Tekand for the first time in 1994 and staged for the first time during the 1995-96 theatre season is the first original play of the performative staging and acting method developed also by Şahika Tekand.
The play is presented to the audience as an entertaining high rhythmic contemporary comedy rewritten and re-staged by being reconsidered again by Şahika Tekand with the title Becoming A Rhinoceros 2.014 on the occasion of the 25th anniversary of the formation of Studio Players founded and directed by Şahika Tekand.
The play-area defined by the play equipment on the stage and the smaller play-areas within identify the realms of existence within this hierarchical order.
The episodes are played out with a kind of acting that in its totality inclines toward what comes into being only as it is performed in the present, here and now, completely refined from that which is literary, and one that demands both a distinguished acting skill and a subtle sense of humour which a clown might have as well as a physical capacity as masterful as that of a sportsman or a circus acrobat.

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