Can you tell us about the creation process of the game?
Actually, the process of this game took longer than I thought. May 2023, so that’s almost over a year and a half.
That’s a long time to prepare.
Yes. When I heard about the play, I also saw Sedef Aybar, a translator I trust very much. I was so excited to know it was his, so I read it immediately. It was also very suitable for our theater. Because “My Mother Always Said” is a play that tells the main words, yes, fathers are right too, but mothers are even more right when fathers are not right. I can make a joke like this. Our mother’s foresight and feeling are present in this play. When I look at it, a play and story written in Chicago seem a bit old. Two young people move to Chicago, they’re in a dangerous neighborhood. Even in America, the idea of Chicago being a dangerous neighborhood has passed. We learn that our favorite cities, Los Angeles and San Francisco, are more dangerous in terms of crime rates. Therefore, it is not possible to play the game in that state. After Ms. Servet trusted me, I made a lot of changes. I adapted it to Turkey with permission from the author. During this process, I thought about how young people might experience culture shock. Dramaturgy took a long time for him. The process was completed when we brought these young people from America to Istanbul and Tarlabaşı.
‘HE IDENTIFIED WITH THE CRIME’
What’s in the game about today?
In fact, there are underlying themes such as urban transformation and migration in the play. It’s not just about the theme of motherhood. The concept of family is examined. Unfortunately, in recent times, family has become very identified with the concept of crime. We still believe that the concept of family is one of the cleanest and most beautiful values in Turkey.
So is this play a play to be watched as a family?
I want to explain it like this: It sounds like “We watched this play as a family and we liked it because there is no slang in it”, but this is not. This is never a game to watch as a family. A communication between generations. Servet Aybar’s note impressed me greatly; “I played the game on my mother when she was sick.” May God not give disease. When you look at it, the game requires sensitivity. I also say that if several generations of spectators could come to the play. “Trees Die Standing” had the same warmth. In our other play, “Guests of the House Without Music”, domestic problems were resolved within the family. It is handled with the family’s love, respect, friendship and good will. I think this is the main theme of this game. Of course, we ask those who watched the game. Do we say family or friends? There are also people who call me friends. When we look at it, family stands out. I think the current version of the game is very sweet. The fact that these parents can become crazier than the younger ones as the generation changes reminds us of the nineties.
Can you tell us about your new projects?
There is a “Konken party” game on the agenda. We still have some waiting in the squad. We will have the “Konken” party, translated by Seçkin Selvi. Apart from that, we have another surprise. We have started working on the play we will prepare for the next season, Arthur Miller’s “Death of a Salesman”.
GENERATION CONFLICT
How did you create the squad?
There is no comedy with such a cast, so finding Çiçek Dilligil, Mert Asutay and Aziz Sarvan – Ecmel İs was very important for us to establish the family structure. I would like to add Mert Aykul and Aşkın Şenol, Dilara Mücaviroğlu. Parents are very important in this game because the game is adjusted according to the parents. There is not only intergenerational conflict in the play. There is also conflict between cultures.
Source: www.cumhuriyet.com.tr
