Welcome to my Kabaret

Deja Vu Kabaret is one of the biggest research projects I have ever been involved in. I have been working on this project since September 2022.

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The lessons I have learned, the work that I have done and the collaborations I was involved with were beyond the point I have ever imagined. When I had the idea first, in one of the first meetings for MFA, I even couldn't believe my ears of what I was saying and trying to achieve. A musical about the Gezi Park protests sounded really surreal and impossible to achieve.

I wanted to figure out why people would be interested in this story. But then, I realised: my strong belief in the story's value is what guides me, and others might be drawn to that too. This musical serves as a compelling representation of worldwide environmental justice issues, originating from the origins of the Gezi Park protests in Istanbul. It weaves together the threads of freedom of speech and the struggle for liberty, drawing inspiration from the profound connection between nature and its profound political significance.

On September 2nd, while I was in Turkey, I visited the National Archive there to learn more about this event. Later, in a bookstore,

I found an article that mentioned a cabaret being burned down after the protests. There wasn't much information, which got me thinking: why not recreate this story, especially considering the global environmental justice protests happening everywhere else? In addition to that, I decided not to use certain words like "Gezi," "Istanbul," or "Turkish police" because they are sensitive topics in my country and can lead to legal issues.

That's how Deja Vu cabaret was born. From the hidden shelves of an old bookshop who wasn't afraid to talk about the real truth. Throughout my writing process, I got inspired from.

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Creating this show as a musical theatre piece was inspired by the idea of setting it in a Kabaret. I aimed to narrate a significant environmental and political tale, all the while ensuring the audience feels embraced and included.

"We meet distinct characters that engage us, in a compelling story, rich in conflicts, themes and action; all played out through interesting dialogue." (Vera, 2008, pg. 101).

This show centers on Seline's voice, highlighting the experiences of silent powers in society. To develop characters around Seline, I began with a monologue about her lovers. This led to creating other characters and their unique voices. Initially, there were four lovers: Deniz, Sky, Charlie, and Mary.

In an extended version, I turned her childhood lover into a toxic partner, adding depth to Seline's psychology through this relationship.

"Female characters are still defined by their relationships to male characters" (Barnes, 2015, pg. 9).

Making Seline a queer character was a conscious decision. She doesn't let her partners define her; instead, she learns from them to grow. Every lover she's had, past or present, has influenced her in some way, teaching her lessons and evoking emotions. But in the end, she's the one who makes her own decisions, not letting others tell her what to do.

Establishing a strong female perspective was an essential aim, reflecting the significant presence of female voices within the protests. The objective was to depict women independently of their relationships with men. By crafting Seline as someone who values others and asserts control over her own life, her character gained strength, aligning with the concept of creating a female-led cabaret story.

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