Interview with Kurdish playwright Asmin N. Singez : “All we need to dream about new dreams”

“All we need to dream about new dreams”

Interview with Turkish playwright Asmin N. Singez

“All we need to dream about new dreams”
Comes from a world with the fragrance of musk, fig tree, Hookah, and coffee at the sand. Comes from the universe of Orhan Pamuk and the films of Fatih Akin Ceylan and Nuri Bilge Ceylan. Coming from a world of contrasts, from a tea party in the continuing motion and change. Asmin n. Singez is one of the most talented author of pieces of contemporary Turkey, being a member of a major theatrical organizations in this country, “Dirklerasai Tyiatro Scyircileri”. Of the pieces they remember: The Mirror (2004); Vicious Cycle (2005);The Fellow Wife ′ Quarter of The Apple′-Film Scenario (2007); Wild RosBeybin (2009); Diyarbakir Stories (2011-2013) sau Chess (2011). It is a strong voice in the cultural world of an area with everything from special Turkey, Diyarbakir (formerly Mesopotamie), where he lives and works.
Beyond the dramatic author and a esteemed screenwriter-made a series of short films dedicated to Diyarbakirului-but also a lucid consciousness, trying to tell the world the uncomfortable truths, always wrapped in a fabric full of tenderness and poetry. Belongs to some very different cultures at first glance: German, Kurdish and Turkish. That is why the human being apreciate very much, and in all his plays, for adults or children, speaks about the beauty and uniqueness of the diversity and the need for solidarity.
A young woman, strong and beautiful, who chose to express themselves through the magical Word, one that should not have color politics, ethnicity or one that should not have barriers, the one who is the origin of the world.
1. Come from two worlds and two completely different cultures: Germany and Turkey.
How you marked this as a writer and as a man?
I was born in Germany, but I grew up in Turkey. My father was a laborer in Germany in the 70s. When I was a few years later, my parents decided to get back into Turkey. Since then, I’ve always kept alive the Turkish community in Germany. Because observing them, we better understand and conflicts that exist here in Turkey, which is made up of different ethnic groups. It’s very interesting that these conflicts have come forward, and in a country like Germany, where human rights are better respected. There is still a struggle to establish ethnic identity. I think that this fight is a nonsense, that divide people. Personally, I believe that division is completely absurd, none of us is superior to the other. I lived quite difficult times in Diyarbakir as a free spirit with a very strong individuality. Probably, that this situation is existential, he turned to writing. When I felt that I am surrounded by darkness, I found the light of myself and I decided not to lose and to transform it into a creative force. No matter how powerful it is darkness as long as you can you light the inner light. In Turkey, the dark energy is still very present, since the 80 ‘s (actually, this energy dates back to the Ottoman Empire)-especially in the South-Eastern part of Turkey, where many Kurds live, including myself. On the agenda of politicians this is called the “Kurdish problem”, which caused the assimilation of cultural constraints and many injustiții. Of course, this phenomenon can be seen from many points of view. I agree that we are all change our contact with the world of culture. But why can’t we have understanding for all human beings, belonging to various cultures? Why do we have unfair standards? What is the source of this interpretation to the various measures? There are so many things that happen in the world that our realities seem wishful thinking. In spite of these negative phenomena, all of humanity’s peace efforts are proof that people feel the need for a unit. The way humanity goes toward unity, an assumed level of consciousness. In fact, we’re so different […] All these contradictions and interests me, I plot, and these questions always put them in my writings, in my theater pieces.
2. In Germany there is a large community of Turks. Perhaps it best reflected this Director Fatih Akin, whose page I was greatly impressed. You have chosen to live in Trucia, a town full of history, Diyarbakir. What can I say about this place, how much it inspires you?
Yes, I agree that Fatih Akin is a great filmmaker. In ethnic terms, Diyarbakir is a source of wealth, is a reservoir of traditions and inspiration for any type of creator. And precisely because of this ethnic diversity, there are so many problems at the political level, the economic and social. It is a very divided society, with a very rich and many poor and impoverished towns, achieved a high rate of unemployment. In the recent past, the population of this area (n. n: it’s about ethnic Kurds) was subject to military repression and was forced to leave their lands. This situation has led to the rise of crime, unemployment, drug trafficking etc. .. Because of this policy of Turks and the Kurdish conflict, the company looks so divided, with many injustiții directed by including the status of women. On the other hand, is a tânrără, educated generation, intelligent, courageous, which seeks to change this policy, this negative perception that creates so many problems for the residents of Diyarbakir. In my piece “Sanal Gerçekler (Virtual Reality/virtual reality), I wrote about the problems of women, about the violent language, about the deaths of children and about persecution from Diyarbakır. I think, I like to think that my songs, showing many of the acute problems faced by the society from Diyarbakir, will change the way politicians to tackle the problems of citizens i represent.
If you think that this earth where I live and write has been the cradle of Mesopotamia, then my creative force becomes stronger. This miraculous geography inspires me, I love, dedication, inculcates dreams. The fact that live and breathe in this part of the world, I defined as a writer and I develop special ability to dream. In fact, the magic of the place, I determined to put so much love, compassion and understanding in my characters. I think the dream is just that which becomes reality.
All we need to dream about new dreams.
3. What made you choose the drama?
Maybe we will make our life a tragedy, which is easy in some complicated simplicity in complexity? I wish that all life experiences, all intellectual, experențele to share with the public. Him to look in the mirrors that I opened in front of him. Of course, as a writer, I put this in front of my mirror, I look straight at the front, try to penetrate as much as my Self. One of my songs is called “Ayna-Bir Ben Var (Mirror-There is a ‘ me ‘/Oglinda-There I am)”. Another piece of my ‘ Kısır Döngü (Vicious Cycle/vicious Cycle) “is based on a true life story which occurred over a period of 15 years. I have focused this entire life into three acts of plays. In fact, how strange it is! How can we talk about time? We don’t do rather than stereotyping time in several dimensions: past, present and future. On the other hand, if you go out of that Convention, life begins to change and evolve. I am convinced that one day, there will be no drama, not in its current form. Recently, I wrote a piece without dramaturgical structure. Again, the result was amazing. The reactions were very good. People were interested in a different type of writing, even if they displease. I always ask all sorts of questions about the nature of her role in the drama, about how it should change.

4. Write songs for adults and both pieces for children. How do you choose topics? What exactly would you?
I choose topics based on the quest for truth, unity between people and I would all the dilemmas of conscience in the face of modernity. I am also interested in science fiction, the mystery attracts me, fascinates me spiritual matters, but I am very connected to the policy challenges. In other words, “nothing that is human is alien to me not”, because I love the human being.
Currently, I’m working with an extreme character difficult, with myself (sic!), because everything you put on the paper are my words, my ideas, how I see the world. Make explorations of Self, at charmic level, micro and macro structure, which would open a new path to experimental theater. In particular, in which I write for children, my focus is on the positive aspects, on fundamental moral values, through fiction. In “Dragon Zetalar Düş Kelebeklerinin Peşinde (Dragon Zetas Has After Dream Butterflies)”, I try to introduce science fiction on stage.
Another reason for writing this piece is the fact that for several years working as a teacher with children who have disabilities. I start with a character, Papi, who represents one of my students so special and beautiful. In another piece dedicated to their “Düş Kelebekleri (Dream Butterflies)”, there are several species of butterflies, which represent the soul free spirits of children. Adults are just as interested in these parts for the children, because they realized how much they learned from their own children.
5.What you may want to tell me about contemporary Turkish theater? About his tendencies, about his major themes, about the problems they face.
At the present time, in Turkey there is a big debate about whether State theaters should be or not to be privatized. Personally, I don’t think such a question should be asked. It’s great need for institutional households, theatres supported by autorităiți, but also theaters privatized. If we leave the theatres Repertory, then we have a serious problem and serious. Compared to football, which in Turkey has a huge audience, the theater is a Cinderella story. Even compared to the movie, the theater is at a loss. And unfortunately, it’s mostly foreign films, the least-watched as Turkish films.
When we speak of contemporary Turkish theater, we should have a profile of the audience. Contemporary Theatre focuses on social issues from the past and from the present Turkey immediately. Because of this, the pieces have a local dimension and not the global one. Of course, it is very important to us bow our problems we face, to find solutions. But, if we want to be honest with ourselves and let us answer the question why the Turkish Theatre is not known outside of his boundaries, then the answer is pretty clear. We have playwrights like Molière, the global Shakespeare, Brecht and Ibsen’s … However, there are writers and playwrights in Turkey fenomenali, Yaşar Kemal, as whose name is little known in the world of international culture.
6. What is your next projects?
I have several projects on which I work. The first is dedicated to children. It is a complex project, which is based on the book, arrives on the scene, and the musicians have played an important role in this project. Basically, it will be a multiple sensory experience where children will have their role. The second project is a poetic piece, packed with many ironies, with a subtle humor, everything is off ering of basic verbs for my way of thinking drama: to be, to seek and reach the truth.
Irina Budeanu