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How much violence you have to show, to talk about violence?

Theater must be political. Just as Necati Öziri puts it, "through the body, which are delivered in a room". Just stories, to reel off, however, neither a core competence of a theatre or a destination. "Otherwise it would be irrelevant," he says sternly into the phone.

if You imagine that he makes a face as in the photos, we know of the man, since the fall of 2017 as a dramaturge at the theatre meeting of the Berliner Festspiele, and as a Director of the International Forum is working: with-sceptic clothing look in the brown eyes and without a hint of a smile in the edgy moves.

socio-political relevance have his own pieces. No matter whether you dock directly in his experience as a Secondo, in the Ruhr area, such as the much-discussed "Get a German or die tryin'" (2017) and the Comedy "foreskin" (2014) or if you overwrite a classic – like the Drama "The betrothal in St. Domingo: A contradiction", which will now be premiered in Zurich.

"Person of Colour"

Earlier, however, at the grammar school, was irrelevant to the discipline of theatre for the math - and logic-Nerd Öziri. The compulsory contact with the art form left in him only a feeling of Mine that is not. To send, to know, thematically, beyond Good and Evil.

Öziris father had come as a refugee to Germany from Turkey, where he was a political prisoner in the prison. Necati Öziri was born in 1988 in Recklinghausen, but got only 18 the German passport. His mother had to cope as a Single parent with Hartz IV. He knows what it means to Offices around forms zuhocken, chasing; has experienced structural racism.

"Because micro-mechanisms of Power play," he says. To allow "people in the corridors wait, you will have to constantly re-summon: This is also an expression of domination of foreign time." And he quotes the black American Nobel laureate Toni Morrison: The function of racism is distraction. To prevent that, you can undisturbed to pursue his day's work, make permanent self-explanation and justification.

the theatre is not a Zoo for endangered species.

For the German-Turkish man of the theatre itself, with the straight-a high school diploma, the study scholarship and, not least, the theatre, the changed life: Today, he describes it once, moving it along the power axis of the system. This privilegiere him to more disadvantaged groups, disadvantaged him as a "Person of Colour" to White.

Such disadvantages show themselves, as he stresses, also at the Theater: so in the Ensembles, where people with a migrant background are under-represented, and in the high entry barriers for Marginalized, from the ticket price up to the atmosphere.

But the Theater is not a Zoo for endangered species, the political playwright. The others are neither issued nor enclosed in a "safe space". But theatre should, as a pulsating and controlled meeting place, all of the societal perspectives to reflect and expose, to the pattern of interlace. It is the view of the losers of history with to record had on all of us to see more.

seriously, even funny

On Öziris list of necessary perspectives about Queers, feminists, People of color, Refugees, Sinti and Roma, people with a Handicap. And for his new piece, the playwright specifies that "at least half of black people and people with racism experience. Black facing is not allowed." Is banned the N-word used Kleist continuous: The "terrible old Negro Congo Hoango" is the major Antipode in the novel "The betrothal in St. Domingo" (1811).

it Is not a problem if an author determines how the Ensemble is genetically and otherwise procure must be? "Racism is not an opinion, but a network and does not fall under artistic freedom. I'm against the under-representation on the stage," replied Öziri and grants nevertheless, he is aware that such a posture would also give rise to difficult new questions.

For example: "May I write as a man at all female characters?" Anyway, our conversation develops into a kind of common thoughts flow with dams to Stop; seriously, at times even funny.

But, but: Laugh. What doesn't work for the advocates of the open stage of the world interview where he declined the announcements down. So, the thing with the female characters is tricky. "While the women are in the case of Kleist, the victims and the men are defined, take with me two different feminist positions on the question "when is violence justified?". But," pushes Öziri afterwards, "how much the reproduction of violence on the stage is necessary to talk about violence? Alone the rape of a passage, and I have, dozens of Times revise, until they had a clichéd for me." Simple formulas, there are not.

appropriation'm always in there, even compared with Kleist's Text. "But I have my Position open. And let about the young woman try out different kinds of conclusions," says the author. The beginnings were not allowed to go don't forget: Öziri adheres to Chimamanda Ngozi Adichies warning of the one-dimensional reading of history, which lead to stereotypes. He was specifically the task is to correct a classic from the colonial heritage. To re-write history.

A happy coincidence

in terms of Language and content of Kleist transported to this heritage, the myth of the massacre of the White people, also ignores the egalitarian post-revolutionary Constitution of Haiti, the White equal Black. He registered that a woman had initiated the uprising. "In the ideal case, the clear fronts in my piece," hoping for Öziri of his Kleist-override – in the self-the Swiss has a not-so-white vest as in the case of Kleist. You can fill Black and White also on the cross. The Great thing about the theatre of the negotiation process, the strip is more than pure Storytelling, and dialect of it, is indeed, dazzling as the reality.

This earned him a truly happy coincidence. As Öziri in 2010, studied in Berlin, he stumbled one day, almost Accidentally, in the audience area of a stage. And broke for what he saw there: the drama, the German reality, of NSU to Secondo-existence. The ball house Naunystraße with its focus on post-immigrant and Feminist could.

Three years later, was from the philosophy and literature student Necati Öziri become an employee Shermin Langhoffs Maxim-Gorki-Theater. As of 2014 he ran the Studio. Then he moved on, to the theater meeting. Writing is everywhere, community think.

world premiere of "The betrothal in St. Domingo: A contradiction", shipbuilding Box, Zurich, 4. April.

(editing Tamedia)

Created: 02.04.2019, at 18:02

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