Relic/After RAU, a new performance by Korhan Başaran, which is also of his related project Re-Rau, has started to be staged in Istanbul recently. Sahne Pulcherie in Beyoğlu was also one of the venues hosting Relic/After RAU in his historical premises built by Jesuits on 1891. It is still appealing to me the long-standing architecture that is utterly in contradiction yet still nicely in harmony with anything contemporary.
In the entrance of the hall, two dancers were welcoming the audiences, one with eyes closed, who was trying to feel the audiences by way of soft touching and the other who was slowly moving around in his around as well as acting as a voice compass in order to guide his colleague in his darkness. This welcoming hall-performance has continued till all audiences found their seats. Apparently, some sort of mental alignment among the audience and the dancers has been composed through such welcoming stage. At that point, the welcoming presentation was linked to the beginning of the stage performance, which was also initiated by those two dancers, and then the piece was broadening with the gathering of four other performers.
The choreography initially has consisted of various combinations of independent and detached enactments that performed by six dancers, besides; it was mostly formed around some frustrating sensations, such as anxiety, discomfort and displeasure, as well as their consecutive reactions and forms in body. What were left to my mind from since as body forms and motions, for instance, were falling, rising, melting, resisting. Despite the fact that all reactive movements were resourced by the same/similar emotions, all performing pieces were like independent sub-performances, which were still pleasant to watch yet also a bit too detached and unarticulated to each other. The level of abstractness and detachments, time to time, was also causing exhaust and disruption over audience to follow it for a long time. Also, it could be hard to define but somehow the performance was leaving behind in mind a taste of incompleteness.
On the other hand, it is not clear whether such obscurity and abstractness are the choreographer’s purposeful intention in order to form a piece which focuses on only-feelings; or creation of the plot and flow is still in progress. Also, personally speaking, I did not have a chance to attend previous performances, therefore, in case that the previous series are complementary and prerequisite to understand the new performance, this could also increase my confusion. There is also another possibility that it may be left incomplete on purpose. Anyhow, it was absolutely nice to watch international dancers performing in Istanbul, so if there will be any further information/discussion about this Project series, it would be interesting to follow.
11 November 2016, Sahne Pulcherie, Istanbul
Concept and Choreography: Korhan Başaran
Music: Kınan Azmeh
Dancers: Beril Şenöz, Umut Sevgül, Melissa Ugolini, Evrim Akyay, Kamola Rashidova, Korhan Başaran
45’, one scene
Photo: Murat Dürüm
Elif Ekinci 02.02.2017 İstanbul