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Gokcens Journey from a nightmare 

In here, you can find my process of exploring myself as an actress and letting the object manipulate me and becoming one with my object.

Gokcen's Process: Welcome
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´´ Without an actor, the object was a lifeless wreck. On the other hand, the actors were conditioned by those same objects their gestures and actions were influenced by the objects´´


Tadeusz Kantor

Gokcen's Process: About
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Bio-object exercise

Here, you can see my process of exploring my body and my object


Gokcen's Process: Text

Bio object progress 

Gokcen's Process: Video

My reflection on my bio object exercie

the warning bells

As someone who had concerns at the begging of this module, I personally think that this module has helped me the most to develop myself in the creativity and improvising.


As much as my creativity, I can now distinctly say that I can bring my creative ideas to life with the methods and the practical exercises that we did in our sessions every week in the module. While working on the story, Hansel and Gretel from the Grimm Tales, although I joined my group fairly late and did not have the chance to work together with them, with the researches and the readings that I did I had the opportunity to try and discover new objects for the piece we, as a group wanted to create and the first object that I had in practice was a mini metal basket that I was planning on using as a cage to metaphorically create the ‘escaping from a nightmare’ of ‘stuck in the nightmare’ atmosphere. As I worked with the cage, I realized, although it was a good metaphor to use in the piece, it did not perfectly break my body and let me use the methods that I exercised the sessions. The object I as a final decided to use was a metal mortar that is usually used to grind seasonings inside. The reason behind why I finalized my decision with the metal mortar is, because it is metal, I was able to make bell like sounds with it and the reason behind this was that the bell sound creates a scary atmosphere because it stimulates with churches. As we watched in our sessions, Kantor’s ‘Dead Class’ and ‘Café Müller’ I have decided to combine the practical exercises and techniques that I watched in these performances.


My main aim was, instead of trying to operate the object, I was aiming to become the object and let it break my body with my limits. My object was sleeping and then gets anxious as the tension of the nightmare starts and starts to scream almost like it is a warning call for the danger that is getting closer. And as a reflection from my last feedback, I tried to reduce the bell sound as much as possible in order to become the object I wanted to us my own voice as a highlight bell sound in the performance.

Gokcen's Process: Text
Gokcen's Process: Music Player

My reflection on my voice exercise 

In the voice exercise I tried to use my voice as a warning sign for danger as possible, to make that clear I used high pitches more to create the anxiety and the tension in the atmosphere. Also for the sleeping part I wanted to use more mumbling and whispering to create the nightmare atmosphere like the object was talking and getting anxious in its sleep. As we all are an international group, we all decided to use different words from our native languages. As a reflection too my feedback, as I mentioned in my bios object reflection, I have reduced the bell sound as much as possible in order to become more one with the object.

screams for danger

Gokcen's Process: Text

Drawings from the sessions 

Gokcen's Process: Gallery
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Bibliography

Kantor, T., 1975. The Dead Class.


Kott, J., 1997. Kaddish : Pages On Tadeusz Kantor. Seagull Books.


Miklaszewski, K. and Hyde, G., 2002. Encounters with Tadeusz Kantor.


Romanska, M., 2014. The Post-Traumatic Theatre Of Grotowski And Kantor. London: Anthem Press.

Gokcen's Process: Text
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