Who was the evil stepmother in the fairy tales, really?
“Loneliness or feeling lonely is essentially related to two basic dimensions, being alone or together. At the heart of this issue lies the question of the interaction between these two basic qualities that constantly shape our lives and our mental state, and how they impact, complement, and conflict with each other. Especially when approached from a psychoanalytic perspective (as opposed to a sociological, psychological, empirical, and descriptive perspective), the more important question is: how are these dimensions of separation or togetherness experienced? And which aspects of our psyche shape this experience? Loneliness in the form of separation is experienced in the familiar lines of object loss, mourning, and the rediscovery of the object. In the form of togetherness, dissociation, deadness, and emptiness are experienced even in the presence of the object,” describes psychoanalyst Shmuel Erlich.
In recent years, everyone is always very busy and constantly surrounded by people, but when we look within ourselves, we witness how our loneliness is always present (deep within our minds), which cannot be erased no matter how much we try. Otherwise, why would phones never leave our hands even at crowded dinner tables! In terms of loneliness, I always think of the quote by F. Scott Fitzgerald, “The loneliest moment in someone’s life is when they are watching their whole world fall apart, and all they can do is stare blankly.” This quote comes to mind when discussing loneliness.
This week, I had the pleasure of reading the book “Tekinsiz Evren ve Yalnızlık” published by Mintor Kitap, which consists of presentations from the symposiums on uneasiness and loneliness by the Istanbul Psychoanalysis Education, Research and Development Association. The book focuses on rethinking and discussing uneasiness and loneliness in the shadow of the pandemic through psychoanalytic theory and practices. The book includes contributions from prominent figures such as Hülya Akar Özmen, Salman Akhtar, Danielle Knafo, and others.
On a different note, the Argonotlar, an “independent and pluralistic contemporary art platform,” has embarked on a clean topic: the 2022 almanac. This brings forward a comprehensive archive and documentation of the Turkish cultural and artistic scene in 2022, showcasing the impact of the country’s fate and sorrow.
In the realm of theater, there is a play called “Çirkin” written by Firuze Engin and directed by Güray Dinçol, which brings together the remarkable acting of Nihal Yalçın and Onur Berk Arslanoğlu. The play sets out to narrate a supernatural tale of betrayal inspired by Anatolian traditions and fairy tales, specifically designed for the new face of Alkazar Sineması, Hope Alkazar, an important historical building in Beyoğlu.
To gain a deeper insight into the play, I had the opportunity to interview Firuze Engin and Güray Dinçol. Engin explains that the idea for “Çirkin” came about five years ago and how the play went through various iterations, especially during the pandemic, while Dinçol sheds light on the unprecedented immersive experience brought to life through the collaboration between theater and digital art.
In light of the challenges faced by the creatives behind “Çirkin,” the process has been filled with learning experiences, collaborative efforts, and the discovery of new paths and directions. Despite its difficulties, the project has been a valuable journey of growth and education for everyone involved. The blending of traditional storytelling and digital technology has created a unique and remarkable theatrical experience for both the creative team and the audience.
