Theatrical Play Richard in Ankara

The year 2012 King Richard III's bones are found in a parking lot in Leicester. It will take a long time for the bones to be investigated and proven by forensic experts. A small theater in London, which mostly produces unusual art plays, will play Richard III on demand during the same period. Meanwhile, there is an anonymous criminal man who takes refuge in the theater and is wanted by the police. “Richard”, who takes refuge in the theater, first assumes the role of Richard in the play, and then takes over the staging of the play. Due to his “corrupt nature” he is against the existing order, the state or the structure of the theater. On the one hand, while receiving the support of tolerant and democratic artists, on the other hand, he disrupts the structure of the theater, goes against everything institutional ethical or hierarchical in art, and creates an unconventional production of Richard. He takes inspiration from drag queen shows, fashion shows, places non-actors in the play and destroys everything from the roof of the theater to people's private lives. The theater is shaken by a disaster. Meanwhile, the kingdom is preparing for the funeral of Richard III. Okan Bayülgen looks at Shakespeare's Richard from the first quarter of this new century. Using the approaches of modern philosophers, he discusses the reality of Richard and Shakespeare's storytelling of Richard. While discussing alienation, isolation and savagery, an imaginary theater company re-enacts Shakespeare's Richard III.

The year 2012 King Richard III's bones are found in a parking lot in Leicester. It will take a long time for the bones to be investigated and proven by forensic experts. A small theater in London, which mostly produces unusual art plays, will play Richard III on demand during the same period. Meanwhile, there is an anonymous criminal man who takes refuge in the theater and is wanted by the police.

“Richard”, who takes refuge in the theater, first assumes the role of Richard in the play, and then takes over the staging of the play. Due to his “corrupt nature” he is against the existing order, the state or the structure of the theater. On the one hand, while receiving the support of tolerant and democratic artists, on the other hand, he disrupts the structure of the theater, goes against everything institutional ethical or hierarchical in art, and creates an unconventional production of Richard. He takes inspiration from drag queen shows, fashion shows, places non-actors in the play and destroys everything from the roof of the theater to people's private lives. The theater is shaken by a disaster. Meanwhile, the kingdom is preparing for the funeral of Richard III.

Okan Bayülgen looks at Shakespeare's Richard from the first quarter of this new century. Using the approaches of modern philosophers, he discusses the reality of Richard and Shakespeare's storytelling of Richard. While discussing alienation, isolation and savagery, an imaginary theater company re-enacts Shakespeare's Richard III.