{"id":5404,"date":"2025-07-11T21:45:53","date_gmt":"2025-07-11T21:45:53","guid":{"rendered":"https:\/\/magazinstar.com\/?p=5404"},"modified":"2025-07-11T21:45:53","modified_gmt":"2025-07-11T21:45:53","slug":"deutsche-oper-berlinde-queer-buyu-emersion-operayla-dragi-bulusturuyor","status":"publish","type":"post","link":"https:\/\/magazinstar.com\/index.php\/2025\/07\/11\/deutsche-oper-berlinde-queer-buyu-emersion-operayla-dragi-bulusturuyor\/","title":{"rendered":"Deutsche Oper Berlin\u2019de Queer B\u00fcy\u00fc: \u201cEmersion\u201d Operayla Drag\u2019\u0131 Bulu\u015fturuyor"},"content":{"rendered":"

Berlin\u2019in en yenilik\u00e7i sahnelerinden biri olan Deutsche Oper\u2019in Tischlerei sahnesi<\/strong>, bu yaz dikkat \u00e7eken bir performansa ev sahipli\u011fi yap\u0131yor: \u201cEmersion\u201d<\/strong>. \u0130srailli non-binary bariton ve besteci Shlomi Moto Wagner<\/strong>\u2019in de sahnede yer ald\u0131\u011f\u0131 bu queerfeminist yap\u0131m, opera, techno, drag ve aktivizmi bir araya getirerek izleyiciye hem sanatsal hem de politik bir deneyim sunuyor.<\/p>\n

Queer Bedenler, B\u00fcy\u00fc ve Direni\u015f<\/h3>\n

\u201cEmersion\u201d kelime anlam\u0131yla \u201cg\u00f6r\u00fcn\u00fcr olma, y\u00fczeye \u00e7\u0131kma\u201dy\u0131 ifade ediyor. Performans, \u00fc\u00e7 klasik operadaki ortak bir temaya odaklan\u0131yor: kad\u0131ns\u0131 b\u00fcy\u00fc ve sprit\u00fcalite<\/strong>. Richard Strauss\u2019un \u201cDie Frau ohne Schatten\u201d<\/em>, Ottorino Respighi\u2019nin \u201cLa Fiamma\u201d<\/em> ve Giuseppe Verdi\u2019nin \u201cMacbeth\u201d<\/em> operalar\u0131ndaki gizli kalm\u0131\u015f bu tema, modern bir perspektifle sahneye ta\u015f\u0131n\u0131yor. Projeyi y\u00f6neten isim: Ariane Kareev<\/strong>.<\/p>\n

Sahnedeki yarat\u0131c\u0131 ekip aras\u0131nda yer alan Shlomi Moto Wagner, projeyi \u015fu s\u00f6zlerle tan\u0131ml\u0131yor:<\/p>\n

\n

\u201cEmersion\u2019da opera yap\u0131s\u0131n\u0131 queer k\u00fclt\u00fcr ve pratiklerle birle\u015ftiren bir deneyim yaratmak benim i\u00e7in \u00e7ok \u00f6nemliydi.\u201d<\/p>\n<\/blockquote>\n

Sahnedeki Tanr\u0131\u00e7a: Mazy Mazeltov<\/h3>\n

Shlomi Moto Wagner, sahnede yaln\u0131zca bir bariton ya da besteci olarak de\u011fil, ayn\u0131 zamanda kendi yaratt\u0131\u011f\u0131 drag karakteri Mazy Mazeltov<\/strong> olarak da varl\u0131k g\u00f6steriyor. Wagner, y\u0131llar s\u00fcren klasik m\u00fczik kariyerine ra\u011fmen queer kimli\u011fini sahnede temsil edemedi\u011fini, bu nedenle drag d\u00fcnyas\u0131na ad\u0131m att\u0131\u011f\u0131n\u0131 belirtiyor:<\/p>\n

\n

\u201cOperada queer hik\u00e2yelerimizi, dolay\u0131s\u0131yla kendi hik\u00e2yemi asla anlatamad\u0131m. Olan birka\u00e7 \u00f6rnek ise ya kli\u015felere ya da ac\u0131 dolu anlat\u0131lara dayan\u0131yordu.\u201d<\/p>\n<\/blockquote>\n

2012\u2019de Berlin\u2019e ta\u015f\u0131nd\u0131ktan sonra Mazy Mazeltov karakterini yaratan sanat\u00e7\u0131, SchwuZ, Meschugge partileri ve Hamburg\u2019daki Mary\u2019s gibi mek\u00e2nlarda performanslar ger\u00e7ekle\u015ftirdi. 2016 y\u0131l\u0131nda Almanya\u2019da yay\u0131mlanan Das Supertalent<\/em> yar\u0131\u015fmas\u0131nda dikkat \u00e7eken Mazeltov, izleyiciye sadece g\u00f6rsel bir \u015fov sunmakla kalmad\u0131, ayn\u0131 zamanda cinsiyet \u00fczerine derin bir d\u00fc\u015f\u00fcnsel alan da a\u00e7t\u0131:<\/p>\n

\n

\u201cDrag, benim i\u00e7in sadece e\u011flenceli ya da kamp bir g\u00f6steri de\u011fil; ayn\u0131 zamanda sprit\u00fcel bir pratik. Cinsiyet rollerini \u00f6zg\u00fcrce sorgulayabildi\u011fim, varolu\u015fa farkl\u0131 bir perspektiften bakabildi\u011fim bir alan.\u201d<\/p>\n<\/blockquote>\n

Emersion\u2019da Drag ile Kabbala Bulu\u015fuyor<\/h3>\n

Emersion\u2019da Wagner, \u201cB\u00fcy\u00fck Tanr\u0131\u00e7a\u201d<\/strong> rol\u00fcyle sahneye \u00e7\u0131k\u0131yor: cinsiyetsiz bir drag fig\u00fcr\u00fc olarak seyirciyi queerfeminist bir \u00fctopyaya rehberlik ediyor. M\u00fczikal yap\u0131 ise al\u0131\u015f\u0131lm\u0131\u015f\u0131n tamamen d\u0131\u015f\u0131nda.<\/p>\n

Wagner\u2019in bu performans i\u00e7in besteledi\u011fi par\u00e7alar; pop-opera formlar\u0131n\u0131, techno beat\u2019lerini, queer kul\u00fcp seslerini ve Dana International<\/strong> gibi ikonlar\u0131n \u00f6rneklemelerini i\u00e7eriyor. Ayr\u0131ca Bellini\u2019nin Norma<\/em>s\u0131, Verdi\u2019nin La Traviata<\/em> ve Macbeth<\/em> operalar\u0131ndan, Strauss\u2019un Die Frau ohne Schatten<\/em> eserinden b\u00f6l\u00fcmlerle harmanlan\u0131yor.<\/p>\n

\n

\u201cDana International 1998\u2019de Eurovision\u2019u kazand\u0131\u011f\u0131nda benim i\u00e7in b\u00fcy\u00fck bir ilham kayna\u011f\u0131 olmu\u015ftu. Bu performansta onun sesine de yer verdim,\u201d diyen Shlomi, queer seslerin g\u00fcc\u00fcn\u00fc vurguluyor.<\/p>\n<\/blockquote>\n

Opera, Kul\u00fcp K\u00fclt\u00fcr\u00fc ve Direni\u015f Ayn\u0131 Sahne \u00dczerinde<\/h3>\n

\u201cEmersion\u201d, yaln\u0131zca bir sahne g\u00f6sterisi de\u011fil, ayn\u0131 zamanda bir kimlik politikas\u0131, bir estetik aray\u0131\u015f ve bir queer direni\u015f manifestosu. Queer tarih, Yahudi mistisizmi, kabbala, techno ve klasik m\u00fczik bu sahnede ilk kez bu kadar b\u00fct\u00fcnle\u015fiyor.<\/p>\n

Berlin\u2019de, sanat\u0131n kalbinde yer alan bu deneyim, klasik sanat formlar\u0131n\u0131 d\u00f6n\u00fc\u015ft\u00fcrerek bug\u00fcn\u00fcn kuir anlat\u0131lar\u0131na alan a\u00e7\u0131yor.<\/p>\n

\u201cBu gece, b\u00fcy\u00fc bizimle olacak\u201d<\/strong> \u2013 queer toplulu\u011fun sesleri art\u0131k yaln\u0131zca sokakta de\u011fil, operada da yank\u0131lan\u0131yor.<\/p>\n","protected":false},"excerpt":{"rendered":"

Berlin\u2019in en yenilik\u00e7i sahnelerinden biri olan Deutsche Oper\u2019in Tischlerei sahnesi, bu yaz dikkat \u00e7eken bir performansa ev sahipli\u011fi yap\u0131yor: \u201cEmersion\u201d. \u0130srailli non-binary bariton ve besteci Shlomi Moto Wagner\u2019in de sahnede yer ald\u0131\u011f\u0131 bu queerfeminist yap\u0131m, opera, techno, drag ve aktivizmi bir araya getirerek izleyiciye hem sanatsal hem de politik bir deneyim sunuyor. Queer Bedenler, B\u00fcy\u00fc […]<\/p>\n","protected":false},"author":5,"featured_media":5405,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"googlesitekit_rrm_CAowy76-DA:productID":"","footnotes":""},"categories":[194,69],"tags":[297,296,298],"class_list":["post-5404","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-tum-haberler","category-kultur-sanat","tag-ariane-kareev","tag-deutsche-oper","tag-mazy-mazeltov"],"_links":{"self":[{"href":"https:\/\/magazinstar.com\/index.php\/wp-json\/wp\/v2\/posts\/5404","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/magazinstar.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/magazinstar.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/magazinstar.com\/index.php\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/magazinstar.com\/index.php\/wp-json\/wp\/v2\/comments?post=5404"}],"version-history":[{"count":1,"href":"https:\/\/magazinstar.com\/index.php\/wp-json\/wp\/v2\/posts\/5404\/revisions"}],"predecessor-version":[{"id":5406,"href":"https:\/\/magazinstar.com\/index.php\/wp-json\/wp\/v2\/posts\/5404\/revisions\/5406"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/magazinstar.com\/index.php\/wp-json\/wp\/v2\/media\/5405"}],"wp:attachment":[{"href":"https:\/\/magazinstar.com\/index.php\/wp-json\/wp\/v2\/media?parent=5404"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/magazinstar.com\/index.php\/wp-json\/wp\/v2\/categories?post=5404"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/magazinstar.com\/index.php\/wp-json\/wp\/v2\/tags?post=5404"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}