- Home
- PAPLICATIONS
- DIRECTING
- SERENCAMA QIJIKAN - 2022
- ANZIEHUNGSKRÄFTE - 2022
- BÛKA LEKÎ - 2022
- MEM Û ZÎN - 2021
- MIN'S MONOLOG - 2020
- UNVOLLKOMMEN - 2020
- ACHT - 2019
- PANOPTICON - 2017
- THE FINEST ARAB... - 2017
- CROWS - 2016
- IN THE TOILET - 2015
- LANGUAGE PLAYS PROJECT
- GRAVE - 2013
- A WALK IN GEZI PARK -2013
- WHERE WERE WE? - 2012
- PLASTIC BRADE - 2011
- EXPERIMENT - 2010
- NIGHTMARE - 2009
- CHEVRON CLOWNS - 2008
- ACTING
- WORKSHOPS
- PRESS
- CONTACT
- BLOG
Mirza Metin
playwright, director
He was born in North Kurdistan in 1980 and grew up in Istanbul, has been living in Köln for 4 years. Mirza is involved with theatre since 1995. He studied acting at the Mezopotamya Culture Center and Seyri Mesel Theatre. He studied dance and music for three years at the Istanbul Technical University State Conservatory Department of Folk Dance and went on to graduate from the Istanbul University Department of Dramaturgy and Dramatic Criticism.
He co-founded Şermola Performans with Berfin Zenderlioğlu in Istanbul in 2008. Later in 2018, he co-founded Şermola’s Germany branch in Köln with Hicran Demir. He was awarded with many Theatre Prizes in Istanbul and abroad and was invited to many festivals and fellowships for the plays he has written, directed and performed. Of the seventeen plays he has written to date, fifteen have been staged either by himself or by other directors. Some of his plays have been translated into Zaza, Turkish, German, English, French and Hungarian. He is the Kurdish Committee coordinator for Eurodram, the European Network for Drama in Translation and he is the founding editor of Dialog theater magazine.
An anti-colonial theoretical research called "Fire Dramaturgy" is carried out by Mirza Metin and an acting training called "Dîwan" is being developed and implemented in the axis of the fire element, which brings together different narrative, dance and sound forms such as govend, semah, dengbêj, çîrokbêj, şivan. Mirza Metin, who explores the possibilities of the body and sound in his works, sees theater as a ritual form and cares more about the physical interaction of actor and audience and the physical experience that arises from this interaction than the meaning of the word. He envisions theatre not as a short-term sight venue but as a short-term life experience. He is looking for the anti-colonial and ecstatic player through semahs, kilams and strans.