"When she turned to me I had this sudden transformation, I couldn’t hold my body, I was able to see the same but obviously was not seen the same. People were staring at me eyes wide open, their bodies were getting farther and farther from me, with an obvious gross out. First I realized my arms - 6 of them - it was not surprising at all. The guy in front, with an apron on, pointed at me his mouth wide open. I could see myself from the reflection on his eyes. Then I recalled the morning. When I woke up this morning from unsettling dreams, I found myself changed in my bed into a Blatta Orientalis."
In Orientalien, Ceylan Öztrük tells about adoption, self-transformation and embodiment of otherness in an auto-theory* performance. The standpoint is the latter attitude; the metamorphosis of the body at post-otherness. Diving into the roots and purposes of the words orient and orientation, how does being the oriental stranger orient the body? As Öztrük dives into the aspects of being an alien, being an oriental and being an other. From alienation to orientalism this new scripted performance holds oriental dance in an existential experience with light and stage installations. The performance offers a new orientation and a new proposal to appropriate the alienation.
A continuation of her previous lecture performance, Oriental Demo, Ceylan Öztrük in a way creates a moment for herself to embody the alienation on stage, on her behalf, becomes another other with other others.
*"In auto-theory, theorized personal anecdotes or embodied actions constellate with fragments from the history of philosophy to form potent analyses of gender, politics, academia, and contemporary art." Lauren Fournier, 2018.
"When she turned to me I had this sudden transformation, I couldn’t hold my body, I was able to see the same but obviously was not seen the same. People were staring at me eyes wide open, their bodies were getting farther and farther from me, with an obvious gross out. First I realized my arms - 6 of them - it was not surprising at all. The guy in front, with an apron on, pointed at me his mouth wide open. I could see myself from the reflection on his eyes. Then I recalled the morning. When I woke up this morning from unsettling dreams, I found myself changed in my bed into a Blatta Orientalis."
In Orientalien, Ceylan Öztrük tells about adoption, self-transformation and embodiment of otherness in an auto-theory* performance. The standpoint is the latter attitude; the metamorphosis of the body at post-otherness. Diving into the roots and purposes of the words orient and orientation, how does being the oriental stranger orient the body? As Öztrük dives into the aspects of being an alien, being an oriental and being an other. From alienation to orientalism this new scripted performance holds oriental dance in an existential experience with light and stage installations. The performance offers a new orientation and a new proposal to appropriate the alienation.
A continuation of her previous lecture performance, Oriental Demo, Ceylan Öztrük in a way creates a moment for herself to embody the alienation on stage, on her behalf, becomes another other with other others.
*"In auto-theory, theorized personal anecdotes or embodied actions constellate with fragments from the history of philosophy to form potent analyses of gender, politics, academia, and contemporary art." Lauren Fournier, 2018.
| Concept, Implementation, Performance, Stage design | Ceylan Öztrük |
| Performance | Schirin Ghazivakilli |
| Conceptual collaboration | Felizitas Stilleke |
| Dramaturgical consultation | Mona De Weerdt |
| Costumes | Laura Beham & Angela Thurnherr |
| Light, technology, collaboration stage design | Iris Rohr |
| Production | Oliver Roth |
| Oeil exterieur | Teresa Vittucci |
| Choreographic collaboration, Sound | Manuel Scheiwiller |
| Translation | Miriam Laura Leonardi |
| Text editing | Merve Ünsal |
| Music Arrangement | Leilaa Moon |
| … |
| Co-Production | Gessnerallee Zürich |
| With the generous support by | Stadt Zürich Kultur, Fachstelle Kultur Kanton Zürich, Migros Kulturprozent Zürich, SIS – Schweizerische Interpretenstiftung, Fondation Nestlé pour l’Art, Ernst Göhner Stiftung, Ernst und Olga Gubler-Hablützel Stiftung |
| With great thanks for the support to | Adro AG, Adelfingen |
