Verkohlt Unter derselben Sonne is the last stop of a long-term research-creation phase that has started in 2016 as a PhD project on the artistic transmission of the political and social death. Since then it has been developed as independent artistic series of work which can be defined as experimental explorations of what sound offers as a medium for documentation, transmission and what kind of dramaturgical settings can be created in the context of the act of playing with sound.

Being an immigrant artist/researcher and sharing multiple subject positions as witness/survivor of systemic, political, social and mass violence, and coming from Turkey as a third generation student of the school of musicologists/composeres Ahmet Yürür and Alper Maral - who were connected with the new music networks such as ICTM and ICCM alongside with the pioneers of the first generation Turkish electronic music composers/immigrants in the USA such as İlhan Mimaroğlu, who is best known for his hybrid approach to fixed material, found footage, free improvisation and unique usage of theatricality, which is also to be seen in the works of Alper Maral - I have been following their footsteps in electronic music and improvisation. Verkohlt Unter derselben Sonne consists of pre-composed and improvisational parts, produced within a hybrid approach to Musique concrète, Spectralism and Noise. It is a humble, late response to one of Mimaroğlu’s master pieces To Kill a Sunrise - which is a homage to political prisoners in Turkey and around the globe.

The first act - Die Erde - is the story of the ‘death-bound subjects’ who speak from the frozen space/time of the already-yet-never-gone masses of voices. Against further traumatization, dark humor is utilized as a performance methodology which provides a protection mechanism and therefore creates a safe environment in the co-existence of sound, human voice, movement and visuals surrounding them. It is more like a children-game played and transmitted from a ‘distant dark reality’ that reenacts the collective trauma of mass-violence to cope with it. It is a gentle invitation for a gaze on our mirrored memories of mass violence in our mind-bodies, with respect to the fact that they clearly do not belong to only one space/time in the human history.

All visual material will be used by visual artist/graphic designer We Own The Nite matching certain frequency and color spectrums inspired by the synesthetic composition techniques of Olivier Messiaen. When their hidden inherent relations become more present by triggering the usage of various mixing techniques reveal new textures, which can be seen as a spectral approach as well. .

The libretto of Verkohlt Unter derselben Sonne is written by Sarıkartal and recorded with Anna K. Frommann on voice, who will be performing during the premiere of Die Erde. Although the text was written by Sarıkartal, it has been developed partly improvisatory during recording sessions by Frommann, whose distinctive imagination, understanding and deep knowledge of different drama and acting techniques such as the ones of the schools known as theater of the absurd, Stanislawski system and other contemporary approaches emerging from modern neuropsychiatric researches on consciousness - especially our mutual interest on the transmission of violence and trauma through the mind-body - culminates in her brilliant performance carrying the traces from aesthetics of Beckettienne absence as presence as well as Dadaism.

The following content may be triggering for some audience: witness accounts collected from the reports of human rights organizations are used as found material in visual and audio formats. The audience should feel free to change places or leave the room without disturbing the performance at any time.



And when the dead become the shadow

They freeze the time

Just like the people buried in the ground

Become the seeds under the sun

And when they will come out of the ground

It will be just to reach your beautiful hands

And if you can turn them into roses

They will sprout like ancient trees

Not because of the springtime

That will never come back again

But because the time has come

To pierce the silence for them

And only then

It will be impossible to kill a sunrise again

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