Rewşan Apaydın, a Kurdish-language theater instructor from the Shadow Theater Ensemble, said that Kurdish theater must inevitably be political. She also shared her excitement about seeing new Kurdish-language productions everywhere this season.
In Turkey, the Kurdish presence in art had always been caricatured and demeaned. The organized Kurdish art movement that the Mesopotamia Cultural Center (MKM) launched in the 1990s has now reached a point where it continues even beyond MKM, and it succeeded in breaking the existing stereotypes of Kurds in the arts. Kurdish theater instructor, director, and actor Rewşan Apaydın spoke to ANF about Kurdish theater.
Kurdish theater is fighting for existence
Apaydın stated that Kurdish theater is engaged in a struggle for survival: “Even today, a pregnant woman can be assaulted in her car just for listening to Kurdish music. Or the Peace Mothers are prevented from speaking Kurdish in commissions formed for peace. Of course, Kurdish theater cannot be independent of such realities. Unfortunately, these situations also cause divisions. On the other hand, Kurdish theater has its own unique side. Looking at the productions, we also see experimental works on stage. Last season, the Mardin-based Şaneşîn staged the play Ji Kela Dimdimê. This season, women actors from DBŞT in Amed are performing the play Jîn (Jinên Azad). Besides these, there are other groups producing as well. The staging of different experimental plays adds even more richness to Kurdish theater.”
Kurdish theater must be political
Rewşan Apaydın emphasized: “Erwin Piscator said that even those who choose not to be political are in fact in a political situation. Life itself already exists within this equation. He also said, ‘Historical theater is not the tragedy of a hero’s fate but the political documentary of an era.’ The relationship between life and artistic production cannot be thought of separately. The bond is very strong. For Kurdish theater, even just the desire to perform in one’s mother tongue, regardless of content, is already political in Turkey. Speaking and producing in our mother tongue should be considered ‘normal.’ Our choices—narrative styles, perspectives on plays, the texts we select, stage direction—all of these should be more closely linked with the political. Sadly, in the geography we live in, trying to exist in our own language is still censored and banned.”
Always under pressure
Recalling that Kurdish theater has faced difficulties and pressure in every era, Apaydın said: “Sometimes this pressure was met with more theater groups forming and more plays being staged. At other times, groups closed, dispersed, or were forced to quit. Compared with other theater groups and stages in Turkey, we see the problems are different. We wish Kurdish theater only had to deal with the same problems as those theaters. Despite everything, Kurdish theater has been producing for many years across the four parts of Kurdistan, and these have been quality productions.”
It is important for audiences to watch the plays
Apaydın said it is very exciting to see new Kurdish-language productions everywhere this season: “Actually, there is work for all of us to do. I think the most important factor is that audiences watch the plays. Audience appreciation is rarely talked about but is very important. Sometimes plays go unwatched. In such cases, we also need to question the play and its aesthetics. The number of people following theater increases every day. This increase brings along issues of taste and appreciation. Being able to respond to this is very valuable.”
A strong archive means a strong memory
Rewşan Apaydın stressed that Kurdish theater needs an archive and critical writings: “This is truly one of the most important elements for theater history. This is how theaters around the world have developed. A strong archive means a strong memory, and it nourishes the future in every way. Without a doubt, Kurdish theater must be able to produce, and institutions and organizations should always support this. Art is a tool that strengthens, inspires, and transforms emotional, cultural, and social bonds among individuals and societies. Through art, societies become more conscious, more creative, and more just. The power of art in society is not only to reflect but also to serve as a tool for change and progress. Understanding and supporting art is the key to creating a stronger and more sensitive society.”