DİCLE DOĞAN
Own Performance
Mule Chewing its Saddlebag
45 mins.
The play tells us about the act of women's walking in many diferant layers. Two minds becoming one with the complimentary live music.
Whatever the road brings from the perspective of these two women, within a pink-patterned carpet, broken-hearted, mournful, ecstatic with joy, shouting and roaring. Let's cry for the trampling of traditional motifs as they scatter from here to there. "Mule Chewing Its Saddlebag" maps out the layers of being on the road;
Pink patterned carpet becomes a shelter, a backpack, a grave, and sometimes just a pink carpet.
Project - Director: Dicle Doğan
Creative Performance: Iraz Akçam, Simge Günsan Music Performance: Esmani Kılıç
Poetry: yazig Mahmud Sıfatsız
Visuals: Ege Canpolat
Production: Kadro pa
2024
Kabile Sahne, Istanbul TR
Karga Performans Alanı, Istanbul TR
Kafa Sahne, Bursa TR
Originn Creative Hub, Izmir TR
Alan Pa , Izmir TR
PRESS
Heybesini Çiğneyen Katır (bianet.org)
Dicle Doğan ile Heybesini Çiğneyen Katır Projesi Üzerine (sanatokur.com)
Heybesini Çiğneyen Katır | tiyatrolar.com.tr
Terk-i Dünyam
12 mins.
Director: Dicle Doğan
Text: yazig Mahmud Sıfatsız
Music: SAVT, Birinci Hane Album (Zeynep Ayşe Hatipoğlu, Elif Canfeza Gündüz, Merve Salgar)
Performance: Ekin Yılmaz, Kamola Rashidova, yazig Mahmud Sıfatsız, Dicle Doğan
Video / alphabetic order : Ahmet Sami Özbudak, Aydın Teker, Hilal Polat, Kalben Sağdıç, Melih Kıraç , Mustafa Kaplan, Özgür Kavurmacıoğlu, Pervin Bağdat, Salih Usta, Simge Günsan, Zeynep Ayşe Hatipoğlu
Poster Design: Kübra Teber
ISTANBUL THEATER FESTIVAL - Mon Amour Istanbul * Project Manager: Ahmet Sami Özbudak * Project Assistant: Kerem Pilavcı * Project Dramaturgy: Münip Melih Korukçu Special Thanks to: Kübra Teber, Galatasaray High School, Ahsen Keyf, Sevil Baştürk
"Terk-i Dünyam" is an Istanbul journey, perhaps a journey from Istanbul. A city that allows me to escape, yet a city where I find nothing the same upon my return. A city where I persistently try to place myself from the soles of my feet to the top of my head, but where I lose things that belong to me...persistently.
My frequent farewells since 2015, resembles the longing I get to a "Sucuk" (Turkish sausage): Sticky, spicy, and definitely causing indigestion if you have too much of it... But I miss it nonetheless, both the city and the sucuk.
By the way, how would you know Istanbul?
2023
27. İstanbul Tiyatro Festivali, Istanbul TR
Pigs' Depression
30 mins.
Concept, Choreography, Performance: Dicle Dogan Dramaturgy & Light design: Dogu Akal
2015
Venice Artexpo Festival, Venice IT
Sanatta Görünürlük Festivali, Istanbul TR
Köşe, Istanbul TR
2011
CNDC School Festival, Angers FR
We are taught to hide our primitive instincts with imposed identities. We are trying to adapt the stories of films into our lives.
In our imaginary world in which we are unaware, we are evolving to an unconscious way of living.
Finding ways of consuming; consuming knowledge, exploiting, being exploited, buying natural things with money, being torn off from our desires and getting used to life, and so on...
Without them and any other imposed forms of life, daily routines are decisive. Which is why I think ours is an age of depression. I tried to create a new form of the body by evaluating the animal form of life, Which I called DEPRESSION OF PIGS and realised that I stopped creating something “new” and made my mind about the name of the story: Depression.
Every one of us is searching for the wild identity and we have been taught to be ashamed of it.
As long as we follow this depression we will not be able to discover the four–legged life inside of us.
Spaces, Distances, Loves, and Cats
40 mins.
Concept, Performance: Dicle Doğan
Music Performance: İdil Meşe
Sound Design: Orhan Enes Kuzu
Light Design: Ayşe Sedef Ayter
Costume Supervisor: Makbule Mercan
Thanks: Meltem Yaşar, Raizvanguarda
2020
Kadıköy Emek Tiyatrosu, Istanbul TR
Moda Sahnesi, Istanbul TR
2019
Koma Sahnesi, Istanbul TR
A performance that tells the steps Dicle Doğan took as the price of a peaceful life, to reach the feeling of eternal freedom after her five-year spiritual journey.
While the artist focuses on how the countries, cities, definitions, homes and relationships we pretend to belong to limit us, she explains how the artificial chaos of daily life spurs this spiritual journey.
In this world order, why try to understand the entire universe when even two people cannot understand each other? Is life enough to understand yourself? Is my life enough to understand him? All this effort comes to an end. People must learn to leave.
