December 13, 2012
“If the image that you created is not contained in daily reality, you may not be able to exist in your own imagination. If your image becomes real, you may not be able to recognize the subject of your imagination. Even if you are the image in somebody else’s imagination, you may be the subject of an image that is not you.”
The Man and the Room is based on a text about men’s and women’s complementing and rejecting point of views, and the possibility of love and relationship which finds its expression in the obscure details of the everyday life. While the verbal layer tries to follow this plain story, the play confronts the problems of the relationship between men and women with the entwisted problematic of the subject and image, reality and imagination. Thus, it attempts to interrogate performatively the dynamics of the complicated relationship between all of these with references to the impossibility of love in the specific sense and authenticity in the general sense.
The play attempts to look and interrogate the impossibility of love in our era through the influence of emotional projection, the physical appearanceof a missed relationship that was/could/not experienced using different languages and the aspect of different languages. In this era where you can gain experience without any experience like Babel Towers built without climbing, can we connect this impossibility to just the behavior to the actions of men and women’s that make them say “if only..”? Maybe it is the light remains hidden by the person’s shadow that we need for people who usually cannot even see the other which is just right in front of them, to see the reality in the imagination, imagination in the reality and the object that starts to fade out in the imagination.
In The Man and The Room men and women wonder in the dead ends while searching what was/could/not be experienced in the light of their own subjective actions, their subjective perception of life. But maybe the “impossible” is the combination of today’s spirit and the modern human being’s mental fiction. Explaining the impossibility of love and relationship with our mistakes and regrets for the past at a time in which the “Voo Doo” effect has vanished and sticking a needle into a rag doll no longer hurts. When the image represents itself and does not represent its object, endless and unlimited possibilities the image that comes of it demands an unlimited drive for consumption. Maybe it is this mental fiction that makes all times “present” and what is lived just “experience”.
Isn’t talking about the past or a past experience an attempt to gossip to others as well as yourself, or to recreate the past? In this re-narration, isn’t what we tell inevitably filtered by our intentions and recollections and doesn’t it become an acceptable way to avoid reality and yourself? But which reality? In a world where fictitious reality becomes more real even while referring to daily reality, the question itself is just as obscure as the answer. Isn’t this the obscurity of the person who has lost his/her political standing or can/does/not question where he/she is going?
The Room and The Man is a stage experience created in this twilight and inevitably diminished in many aspects. From the text, as well as the sound, the image, the human being, ourselves and our stage…
Is it possible to create an authentic relationship, an authentic life from all this reduction and deduction at the obscure, permeable but also tense edges of the monologue and the dialogue, the street language and the intellectual language, the simple and the complicated, the lonely and the crowded, the possible and the impossible, the image and the reality, the man and the woman?
The contemporary individual and social poem of two people, man and woman, may lay under the
impossibility of translating what they say to each other, even though they might have experienced the same relationship, at the same time and have said almost the same things to each other.
Maybe it’s best to re-fictinalize everything that happened.
© Senay Ozturk
© Bram Monster
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