Conversation: Suha Çalkıvık

You are an artist who works at the Istanbul State Theaters. Professional player

You have left 26 years behind. The third of our collective plays has also been published. I guess 'Ful Yaprakları' is your third play staged among the plays you wrote. How did your game writing work begin?

In 1994, I wrote my play titled 'Waters of Doom'. In the 1995-1996 season, he included in the Istanbul DT repertoire and was staged in the Chamber Theater. Ten years later, 'Full Leaves' is staged in the same place. This is a great honor for me. In 1996, Avni Dilligil and İsmet Küntay received the best writer awards in 'The Waters of Doomsday'. In addition, the director and actors were rewarded. Kenan Işık had put the play on the stage. At first, my fellow directors and actors as well as everyone who worked were very owning. Now they have embraced the 'Full Leaves' very much. All of my friends. This is the biggest happiness for me. Sharing. You cannot measure this pleasure with anything. In order for the audience to join you, the approach of the team is very important. Their excitement is so obvious both at the backstage and on the stage. I started writing plays because I liked working alone, and the support of my friends kept me going. I have written seven plays so far. Six of them were published and three of them were staged.

Are there any attempts to play your unstage games?

I've been scared all my life about this enterprise. Initiatives have always developed outside of me. I had my first play read with hesitation to some of my friends. When I saw some support, I sent it to Ankara to the repertoire board. Now, some students are searching, "Can we play your game?" I am incredibly happy. I think a few universities played in Anatolia. We exchanged letters with some for a long time. Children study tirades in the conservatory. I read on the internet that they are working on 'Men's Toilet' in Izmir. I hope they will call me too. I don't know if there is a new professional venture. For now, it is enough for me that my three plays in ten years have been staged by three different theaters four times.

You published Ful Yaprakları in 2002. Does it take that long for a project to come to life?

Honestly, I did not expect that I would get this chance. Then when I passed the repertoire board, I got a little hopeful. In fact, it does not make sense to pass the game through the repertoire board. The director showing the desire to stage the play may not come out either. Two years ago DT announced that he would play. Kismet is this south. I think the delay was very good in terms of results. I say luck because I consider it a great chance to even be played today. Believing that the play will meet the audience, my fellow selectors, directors, directors and actors. Even the coming together of them is like a miracle. I do not know, the director adopts, for example, he cannot convince the actor. Or the other way around. Or they do not believe in the author and play Kerhen. These are usually things we've been through for years. Maybe due to the nature of the work, although rehearsals that take place in peace are not often encountered, I believe that this play was staged after a very peaceful working environment. In this sense, the result is very important to me, not the time spent for the realization of the project. As I said, I think the result is positive. At least one of the best conclusions for me. What would I do if my game hadn't been played? Since I could not go door to door saying 'I wrote a great play', I would continue to write like now. This is my job. I do not want to understand, nor do I want to understand. Of course, I am very happy when played, but not being played does not affect my life. I am not ambitious about anything. Although I see this feature as a big deficiency from time to time, I think I am generally satisfied with my condition. If my game is not played, take it out myself and play what others have written. If that doesn't happen, I'll do it on the neck.

After watching Full Leaves, "This game must definitely be translated into foreign languages!" I said inside of me. Due to the richness of expression of the text, the fact that the characters - their sub-structures - are drawn very firmly with their lines, the care in fiction and its contemporary language ... Also, a very challenging journey awaits people who will analyze your text. The references, metaphors you make in the text do not contain words that can be easily eaten and swallowed. As a theater man, have you ever had concerns before staging? Have you ever been afraid of handing it over to the director?

You surrender your child. You will either give it to a good teacher or you will train yourself like Erkin brother. Aside from joking, I don't understand being a director, but I think I do. Therefore, in peace of mind, I can say that he was a good teacher. Turgay is a very good name. I know his previous work. Moreover, he is aware of the world in which the game takes place. And the poet. If you are, would you not surrender your play to a poet whose shadow extends his shadow to eternity? Of course, if this person is also a theater man .. Of course there are others. I have other friends that we look at from the windows of the neighboring life, but Turgay has done a very good game in the end. He read the game correctly and enriched it. He also put his signature under him as a director. As I mentioned above, the collectively produced work needs to be created in an atmosphere of peace. Of course, I do not mean discussions about production by 'Huzur'. You can also argue with bitterness, but there is always peace that I mean. In my opinion, this happens with the correct sharing. As a writer, Turgay director, Musa, Özden and Özlem as an actor, Enver as a lighting designer, Gülhan costumer and Ethem as a decor designer, we have achieved a correct share. I did not write these names to flatter them. I am very very sure about this sharing. Let's get back to your question; neither the beginning, the rendering time, nor the result were scary.

Your play, in my opinion, is a slap-like text on the inner questioning, explosions, tragi-comic lie-reality of the person who could not find himself, based on the journeys of today's isolated, impoverished people in the virtual world. How was your process of writing this game? Have you had trouble writing moments that you couldn't get out of? Or was his 'fiction' ready right from the start in your mind?

I was going to write another play, it turned out. I know how I ended it. I did not understand how I wrote it amid the current confusion. As I said, I sat down to write a very different play, but after writing two pages, I changed my mind. I knew what to write in the next days. The job had come to put them on paper. Paper and pen habit of course .. It has been years since I forgot about paper and pen. By the way, I was playing in the TV series, I had a play in the theater, and I was experiencing special pain and unpleasantness in my life. I divided my life into five or six parts. There was no play writing among these pieces. I was neither available nor my head. On the other hand, I could never get it out of my mind. I started thinking about the game in an obsession. We were playing 'Cactus Flower' in Taksim scene. I used to take notes backstage when I was running from the set to the game. On the one hand, I would play my play, on the other hand, I would think of the scenes I would write when I got home. I used to make small notes with the makeup pencil in the locker room. Then I would return home and write the scene I designed. That's how it's done Ful Leaves. I was very happy when it was over. Back then, the only happiness in my life was to be able to write a play under those circumstances. And in my opinion, it was a nice game.

Are there any advantages to being a 'player' while writing your plays? Dramatic thinking is something you have already absorbed over the years ... Does it help you while writing a play?

Wouldn't it be ... I hated the possible biblical talks I've been on stage. The stage is not the literary arena, but the life itself. But you cannot bring life as it is, just because it is life itself. You can play life lived randomly as if it were random. Writing as if it was random, not random, requires a separate equation. You shouldn't be aware of the technique. A common sentence in the first scene may be linked to another word a few scenes later. You must sprinkle all the passwords throughout the game and at a distance to complete each other. Meanwhile, a small message anxiety can shatter the game. Although you do not know exactly how long a scene will last while writing, you have to adjust it by listening. He shouldn't ignore the mise-en-scene either. Because time is very important. In this sense, acting experience works. You do them while the role is working. While I write, I play that scene in my head, but I never think of a particular actor. I don't think about words at first. In my opinion, they do not have a complete formula, but you should distinguish between the reality of the game and everything that contradicts the reality of the game. Sometimes I even try to hear the music of the scene I'm writing. I think of the light hitting that scene. Don't be misunderstood, I'm not saying that writing would be like this. I don't think I'm a writer anyway. I am writing and I love this job. I guess I would have written differently if I hadn't had acting experience and didn't know the reality of the scene. I don't think I'm an actor among us, either. I'm just shouting something in my own way. Still, I think I did all this deliberately, not in the form of random shouts.

Let's get to the staging of the play; What do you think about the striking and clever inventions of Turgay Kantürk and the creative team? Do you agree that your text is enriched with technological inventions on stage?

I answered this question without reading it above. So we gained ground. J

Of course they enriched it.

We felt that the actors, especially Musa Uzunlar, loved their roles. Did you find your fellow actors successful? Otherwise, while watching, "what if he did this and that!" Did you say many places?

I told you, all three of them added life to the game. I want to say so many things, but I am afraid that he will be greasy. As for the issue of 'if he did that like this', it never ends. It will be a common phrase, but there is really no end to acting. Nevertheless, after interpreting correctly and being a good actor - we don't have a chance to say 'if I did the sura like this' after we lived through it - there is no need to say to the actor 'if you played it like this'. The man is playing right. He plays well. He enjoys playing and most importantly, he plays and makes him believe as if he is in life. Even if he wants to, he can't go out of line. He doesn't want to go out anyway. Because he does his job consciously. Let him play it according to his head. Do not let our girls be taken, when I say 'man' I mean them all.

  I think one of the first to take place in Turkey soon. What kind of reactions do you expect if the project to broadcast the game on the internet takes place?

I have no idea about this. Even people I do not know send e-mails and ask when it will happen. Let's see, we'll see together.

How do you look at my suggestion for translating the game?

I had offered a few translators to my friends for other plays, in between, but they did not look very warm. I didn't dwell on it either. My play called 'Infrared Light' was translated into English with my brother a few years ago, just for fun. It just stands in my library. As for the Full Petals .. Even if I say that if I do not get cold, maybe I will turn it in the future, things like this seem to me as burdensome as filling the tax return envelope. Last year, 'Men's Toilet' was going to be played in Germany, but I think the translator left unfinished. Of course I would love to be translated. Even if it is not played, it will be read by a few theater lovers. But I guess it's not that easy.

THANKS SO MUCH DEAR CİVAN CANOVA

Conversation: Suha Çalkıvık