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By poems of Bejan Matur

A magical, contemporary elegy for theater for 1 hour by two female artists in Berlin.

Poet Bejan Matur's poems, performance is accompanied by the striking interpretation of the artist Katarina Teise.

The two women artists, one Kurdish, the other Ukrainian, have taken dramatic and sad realities and turned them into poetry. What they transfer to dance takes the audience from the realm of consciousness to the realm of dreams, out of consciousness to the unconscious. They pushes the boundaries of consciousness and the unconscious. A reading like a dervish dance on stage and a meditative atmosphere we are watching. Beneath its calm and simple appearance, Bejan’s poetry has a power that makes you feel the truth deeply. When Matur's poetry meets the visual, it takes the viewer on an archaeological excavation. It cleans the dust on the entity, invites the viewer to go deeper and deeper an experience that leads to the deeper light. It is an experience of inner engineering and at the end of the journey we approach light and love. Throughout this avant-garde performance, the possibilities of music, words and light come together. We witness together the body creating a space of nothingness. So that we can have a deeper opens the doors of experience to us as well. Like a dream space between existence and nonexistence. On the stage, Bejan Matur is the voice of her own poetry. And the performance makes poetry visible. Matur watches Katarina, together with the audience.The resulting experience is the space between words, like life between letters. Katarina Teise creates a very ambitious soul space for Matur's poems. The performance almost embodies the poetry.

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 1 hour Contemporary theatre play with a middle age carneval culture.

Carnival is understood as something authentic, true, better. Carnival is ‘the second life of the people, organised at the beginning of laughter. It is its festive life. Festivity is an essential feature of all laughter ritual and spectacle forms of the Middle Ages

‘The main holiday begins in a situation connected with a heightened and tense expectation of the catastrophe of the world. The old world, the old time, the old man are ‘worn out’ and decay, death awaits them. The forces of chaos seem to overpower the cosmic organisation of the world. Sadness, mourning, fasting, a sharp increase in the number of prohibitions, sometimes imposing additional tests on oneself (up to and including self-torture) characterise the situation of the members of the collective on this 

 The ‘first holiday’ is a kind of encyclopaedic summary of archaic culture and a means of generating, in the course of the festive ‘game’, new forms of culture in its symbolic images.

categorical opposition of carnival to the official holiday and the whole system of power in general, both state, secular and church. And this opposition is given a value load: everything official is evaluated as frozen, outdated, outmoded, bearing untruth and violence, while everything carnival is something new, alive and free.

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