İbrahim Selim

You are taking the stage at DOT with ‘Bunu Ben De Yaparım’ from Nick Hornby’s ‘Nipple Jesus’ story. What is it about the Dave character that gets you excited?

Dave is a beautifully written character. He is very real. What he describes, what he says, the sentences he forms… Although he is a made up character, even on paper he seems completely real. Which is why I am very excited about being the voice and embodiment for such a character.

A one-man show is an extremely different experience for both the actor as well as the audience. What does it feel to be “alone on stage?”

I don’t really feel alone during rehearsals. The second I was performing on the opening night in front of the audience was when I realized that I was actually alone on stage. Although it was worrisome at first, it made me realize the story that I was telling never let me feel lonely. This play is actually a story, and a good one; it’s tightly constructed with no gaps. It never loses its strength as a script. This is why I should point out that the text has been my most loyal companion along the way.

What would you like to say about the origin of the play which is “unbearableness?”

I think feeling unbearable is one of the main problems of the world. It is involved in all areas from politics to art. To make a play that shapes around such a hot topic was both easy and difficult for us.

How would you define the play’s relationship with modern art?

Modern art is an area where art has a natural distance between itself and the “onlooker,” by choice, or it is at least in piece with it. ”Bunu Ben de Yaparım” is a play that is aware of this distance and that feeds from it. It deals with the dichotomy between who “understands” art and who is “ignorant.” It looks at the picture of this community in our environment and questions a Regular Joe’s relationship with modern art.

What is your reaction when you see what modern art is exposed to by the conservative crowd of daily life?

In general, the conservative crowd feeds off of not knowing, and refusing knowledge. It’s a stand not only against modern art, but against anything that feeds into knowledge and wisdom. This causes me to feel hopeless not just as an actor but as a person.

Modern art often faces the over-confidence of “I can also do this.” What are your comments on this as an actor?

I think it’s a sardonic act. When you first see an art piece, there might be a huge creation process that is unseen; although it might look simple, it might have achieved being that after a long thought-process. I think achieving something that looks easy and simple is always harder. I think that what causes the disdaid is the uninterest and carelessness in what is not seen.

Do you have routines prior to or after the play?

I don’t have any routines other than voice and body excercises.

What was the most memorable play you’ve seen to this day?

I find most of the plays we put on at DOT impressive. I was really affected by Festen and Supernova. Along with that I’ve seen amazing plays at Semaver Kumpanya, Craft and Krek up to this day.

Which text would sweep you off of your feet even as an idea?

It’s hard to just mention one text. Every play I take in my hands and begin the rehearsal process sweeps me off of my feet. I don’t like being a part of something that doesn’t sweep me off of my feet.