In 2018, Şahika Tekand and Studio Oyuncuları continue the adventure they set out on with Samuel Beckett in 1990 with Waiting for Godot, among the writer’s most important theatrical texts. The director uses the method of performative staging and acting, and sets up a game model that expresses the notions of the act of waiting and anticipation, hope and hopelessness, the desire to exist and being condemned to exist, the irrationality which is a consequence of the finiteness of the future promised with birth, and the desperate effort to make it rational. Tekand starts with the dynamism brought about by the contradiction of the textual and the performative, and with a design in which the dualities of director/writer, actor/play, actor/role, stage/abstract space can exist superimposed, which renders the elements of stasis, motionlessness and monotony that exist in Beckett’s text into performative causes and obligations, she sets up the theatrical performance on this game.
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