Tiyatro Medresesi was initiated and founded by Celal Mordeniz, the artistic director of Medrese and the theatre group Seyyar Sahne, as the first international artistic research, creation and performance centre in Turkey in 2011.
The idea of Medrese has its roots in such aspirations as the invention of new ways of making theatre, de-centralisation of the artistic production, and the imagination of true encounters among artists. The idea was enthusiastically received by the addressees so that it became real in a legendary way.
Tiyatro Medresesi was designed to serve as a residence and venue where almost a hundred of artists can stay, dine and work together and share their works with others and the audience.
Medrese has been built without any subsidy from the state or private institutions. The founding team of Medrese devoted all their material and human resources to the construction, which lasted eight years. The construction was also never interrupted thanks to the donations made by the friends of Medrese and the theatre-lovers from all around the world as well as the artists who generously supported Medrese with their performances and concerts.
Tiyatro Medresesi is located in Şirince, an old Greek village in İzmir, on the land neighbouring the Nesin Mathematics Village. Medrese consists of private rooms, dormitories, performance and rehearsal halls, library, kitchen and dining room, an amphitheatre and a courtyard surrounded by olive trees. All of those components create an ancient architectural design particular to medreses, boarding schools for higher education in the pre-modern era in Anatolia. In this respect, the building of Tiyatro Medresesi is not only shaped by aesthetical concerns but also moved by the idea of living and creating together on the one hand and in isolation on the other.
Located in a wonderful nature, Medrese hosts workshops conducted by the distinguished instructors not only from the field of theatre but also other disciplines such as dance, cinema, music, literature and philosophy. Moreover, International Monodrama Festival, MonoFest was organised for the fourth time in 2018 as a unique event at Medrese in that the actors and the audience stayed together during the festival, which was honeycombed by not only performances but also workshops, talks and readings.
MonoFest was so successful that the context of the festival is enriched and enlarged in 2019 as the first rehearsal festival in the world. Actors are invited to arrive Medrese three weeks before the festival and rehearse their works that they will perform at the festival now called MedFest.
Artists and audience who participated in the events at Medrese shared the impression that staying and working together at Medrese changes the human beings’ time and space perception, and enriches and deepens human relationships. And it makes us so happy to hear this! Actors always build space. They build spaces on the stage in order to make their performances true. Unlike those spaces, Tiyatro Medresesi will not disappear after the performance but stay alive and keep artists creative.
Artistic Director: Dr. Celal Mordeniz (Founder)
General Coordinator: Erdem Şenocak (Co-Founder)
(If you want to participate in the projects organized at Medrese, or you want to suggest a possible project, please contact email@example.com)
Assistant General Coordinator: Rezzan İlke Mordeniz (Co-Founder)
(If you think you can arrange a sponsorship for Medrese via an institution or company, please contact firstname.lastname@example.org)
International Relations and Festival Coordinator: Dr. Nesrin Uçarlar
(If you want to make a collaboration with Medrese, or you just want to reserve a residential place at Medrese, please contact email@example.com)
Technical Affairs and Theatre Workshops for Youngsters: Doğu Can
The First Performance Research Centre in Turkey
There are many research centres in the world that work on performing arts and inspire Tiyatro Medresesi. However, theatre in Turkey, which is mostly imbued with productions, does not have such institutions that have dedicated themselves to the research activity. With a few exceptions, neither the publicly-funded theatres that need to keep constant play-producing, nor the private theatres that are preoccupied with earning money, nor the amateur and alternative theatres that are supposed to be dissimilar to the first two focuses on the research activity. For that very reason, Tiyatro Medresesi claims to fill this gap and to be a centre for both amateur and professional artists to realise, push and go beyond their limits through the workshops, theatre camps, panels and conferences that will be organised at Medrese.
We have observed today that not only the big budget festivals but also the low-budget ones, which are supposedly alternative to the former, gets further away from the claim of being a meeting point for artists and researchers. A true encounter has been less likely occurring between audience and actors on the one hand, and among the groups participating at the festivals on the other, as long as festivals have become events simply composed of plays performed. Medrese will be the place of true encounter as the audience and artists stay together and find the opportunity to meet and talk in the courtyard. We believe that new relationships will emerge at the courtyard of Medrese that will be open to artists and researchers from different disciplines all the year round.
Surely, Tiyatro Medresesi will bridge a great artistic gap in Turkey with its emphasis on research and its claim to be a venue for artists in Turkey to meet their colleagues all around the world.
Why Madrasa Architecture?
Space and possibility are the two kin words in Arabic. When you create a space, you also create a spectrum of possibilities. Therefore, the possibilities you are able to create are directly related with the space you create. In this respect, we constructed a space inspired by the architectural design of madrasa, which includes both the modes of isolation and meeting. There will be private spheres where artists can conduct their individual works and a courtyard where they will encounter with each other. The works produced in the mood of isolation will be shared with others in the courtyard, the most significant constituent of the classical madrasa architecture, a distinctive public sphere.
Moreover, when we decided to build such a “learning centre” for theatre and performing arts, we did prefer to construct a “madrasa,” which offers a different insight of duration, manner and theme for each participant, rather than a “school,” which belongs to the modern era that proposes a time-method-content-limited, compulsive and standardized approach for everyone. We intended to create a space where the masters continue to learn with their apprentices and therefore, transfer a way of making theatre from one generation to the other.
Monasteries, which are so similar to madrasas and known in the Sanskrit language as “viharas” served as sanctuaries for the Buddhist monks for centuries. We hope that Tiyatro Medresesi becomes an artistic sanctuary for those who want to focus on their arts.
Tiyatro Medresesi is located 800 meters away from Şirince, an old Greek village of İzmir, which is also known with its nature and architectural fabric. Şirince is 15 min away from the ancient Greek city Ephesus, 20 min away from the nearest beach and 1 hour away from the National Park in Kuşadası by car.
The presence of the Nesin Mathematics Village in Şirince is also one of the factors that boost our desire to build Medrese in Şirince. We located Medrese on 6 acres of land next to the Nesin Mathematics Village. It seems that together with our neighbour we will generate an alternative university atmosphere in Şirince.
Another reason of building Tiyatro Medresesi in Şirince is the (anti) architect of Medrese, Sevan Nişanyan, who was so attracted by the idea and convinced us to build it in Şirince. The historical houses he restored in Şirince; the vineyard he created out of nothing in İlyastepe; the rock tomb he built at Kayser Mount, and last but not least, the Nesin Mathematics Village he created were more than enough to be convinced.
We are grateful to the Medrese volunteers, who put great effort into every work they do from cooking to cleaning; who created visual materials and who translated and designed at Tiyatro Medresesi.
Abdullah Köksal – Ada Özsar – Ahu Sıla Bayer – Ali Haydarhan Yılmaz – Ayda Canova – Ayşegül Öz – Batuhan Başoğlu – Berfin Emektar – Betül Taylan – Buse Külekçi – Can Sayan – Cemil Can Yusufoğlu – Damla Makar – Ece Zeynep Taşkın – Efe Taşdelen – Emre Yüksel – Faruk Kaan Atasoy – Fatih Şeremetli – Fidan Budak – Gizem Kargın – Günışığı Zan – Haydar Şahin – Hazal Şahin – Heval Kandemir – Kutay Yaşar Teköz – Mali Dönmez – Mehmet Can – Melike Kutluer – Mert Asma – Merve Bozcu – Merve Kamar – Mirel Torun – Murat Kural – Mustafa Sırkıntı – Nil Mutluer – Osman Onur Can – Özge Tatar – Reyda Ergün – Ruhat İlhan – Selsu Solman – Serhan Erkol – SG İmalathane (Selda Güleç) – Şükran Çakmak – Şule Yiğit – Tanya Arısoy – Tuba Keleş – Tuğberk Yaşasın – Türkü Metin – Tutku Erten – Uğur Acil – Uğur Açıkgöz – Yasin Almaz – Yağmur Deniz Kısa – Yavuz Akkuzu
We are grateful to our every single supporter who put a brick to Tiyatro Medresesi. Their names will live forever on the bricks, stones, walls and arches of the Medrese!
(The last donor is on the top of the list.)
Zeynep Çalışkan, Ömer Cem Çalışkan adına – Koray Çalışkan, Elif Nare Çalışkan adına – Manuel Stroffolino – Bernhard Stengele – Anne Diemer – Heiner Diemer – Belgin Johnson – Güler Vafi – Betigül Çadırcıoğlu – Süheyla Erdoğan – Aysel Uslu – Hülya Tektaş – Ekin Yenen – Engin Yenen – Beyhan Sükan – Zeynep Man – Aytaç Demirsoy – Selman Gülen – Fatma Uçarlar – Emine-Recep Uçarlar – Ali Uçarlar, Alp Uçarlar adına – Emre Uçarlar – Sanem Esenkaya – Büşra Ersanlı – Günay, Nuray, Melek Gülal – Sine Ergün – Harika Gökçesu – Ahmet Gökçesu – Bülent Vefa Karatay – Zeynep Balkan – Zehra Genç – Selma Songür – Bengi Özboyacı – Burçak Çöllü – Nilüfer & Beytur Borovalı – Seyit Ardıç – Ali Kırkar – Yüksel Başaran – Lesli Karavil – Duygu Yeral – Mustafa Ürgen – Ayşe Ürgen – Şermin Ekinci -Evrim Akgün – Emine Öz – Celal Özbek – Cem Dinlenmiş – Gökşen Şahin – Nisan & Güney Aksakal – Fatih Altıkardeş – Nil Delahaye – Münir, Beitan & Naia Yılmaz – Eda Asma – Suzan & Ege Karaosmanoğlu – Alper Süzer – Giulio Ranzanici – Başak Ural – Sülüklü Han Kolektifi – Berna Çelikkaya – Rana Çağış – Ali Ateş Umuroğlu – Sadık Tamer – Esma Şenel – Liz Amado – Adalet & Halim Ağaoğlu – Feyyaz Uysal – Efe Keleşoğlu – Ersen Aksoy – Emre Çetin Gürer – Selin Irazca Geray – Katharina Weithaler – Selçuk Mert – Mustafa Tüzüngüç – Filiz Sargın – Rıza Metin Gülbay – Ömer Ümit Yörüger – Nilüfer Ovalıoğlu – Caner Önoğlu – Seher & Mehmet Kocaman – Sander Caouki – Lara Caouki – Pınar Caouki – Denny Caouki – İrem Akın – Onur Derin – Onur Arabacı – Özge Erdoğan – Leyla Okan – Fevzi Emre – Ayşegül Cengiz Akman – Ruken Yücel – Onur Uğraş – Efsa Kuraner – Özge Özeke – Savaş Tokmak – Zeynep Günsür Yüceil – Berna Aşık Zibel – Bilal Olkun – Ozan Sağun – Gönül Şengül – Hakan Kutlu – Kayahan Aroymak – Öykü Gürçay – Ekim Deniz Bektaş – Meltem & Osman Kanoğlu – Tamer ve Gamze – Deniz & Derya Tatver – Aynur Erdem – Levent Erginkaya – Ali Çam – Nermin Kızıltuğ – Doğan – Mesude Yalçın – GSÜTT – İlker Türkcan – Onur Kahraman – Seren & Gökçe Aydoğdu – Neval Turhallı – Oyun Atölyesi – Raul Sirio – İTÜ Sahnesi – Aykut Akçay – Aydın Akçay – Burcu Akçay – Oya Akçay – Günışığı Zan – Burcu Budak – Alper Görmüş – Duygu Çelik – Rezan Kaya – Gökhan-Ebru Aracı – Ilgın Angın & Ebru Soyuerden – Banu Gültekin – Nil Mutluer – Hamza Zeytinoğlu – Erkan Gültekin – Elvan Bayraktaroğlu – Didem Çınar & Engin Ünal – Berfin Dilay Mordeniz – Esin Tütüncü – Barış-Satı Yiğit – Ali Umut Kocaman – Kamuran Karabayır – Murat Seven – Nazım-Serhat Orhan – Evren Konal – Özgür Yüksel Erkılıç – Dilek Gültekin – Serhan Öztürk – Bircan Polat – Banu Alp – Çiğdem & Ülkü Caner – Ersin Aydın – Emine Özbay – Canan Günaştı – Erkan Gültekin – Sofija Loryne Aldemir – Murat Çetinkaya – Keriman Karaosmanoğlu – Yusuf Karaosmanoğlu – Kerem Karaboğa – Pınar Canevi – Yavuz Canevi – Kaya Tokmakçıoğlu – Ayşe İbili – Can Berk Derun – Eren Nur – Ferhat Nur – Perihan Nur – Melis Nur – Murat Güvenç – Merve Tanrıöver Usta – İlker Usta – Fulya Gökalp – Didem Yücel – Hasan Çavuşoğlu – Erdoğan Şendemir – TİMİS Mezun Kadrosu – Arda Özkaynak – Kadir Ulaş Acar – Ahmet Yılmaz – MekanArtı – Gül Temur – Canan Seven – Kerem Pakdemir – Erol Özdoğan – Günay Göksu Özdoğan – Elif Karayel Derman – Turgut Derman – Nurcan Kayacan – Mihriban Özbaşaran – Yavuz Akın – Nilgün Akın – Nesrin Yılmaz – Nazmiye & Erol Şenocak – İlhan Eksen – Muzaffer Suna Kafadar – Faris Kılıç – Murat Doğan – Meryem Kaya – Zerrin Yanıkkaya – Özer Üstel – Füsun Üstel – Gaye Çankaya Eksen – Kerem Eksen – Taşkın Fuat Salman – Aziz Akal – Uğur Tekin – Utku Erdem – Yavuz Pekman – Erdem Şeşen – Altuğ Hasözbek – Nurdan Gürbilek – Julie Lynn Upmeyer – Anne Catherine Weshinskey – Beril Akıncı – Kemal Durmaz – Ferhat Kentel – Nilüfer Oral – Yağmur Akdağ – Anita Joseph – Kaya Bural – Vedat Gür – Engin Öncüoğlu – Ayşe Bayramoğlu – Gözde Nur Kuru – Mustafa Battal Yiğit – Zümrüt Savaş – Mahmut Keleş – Serhat Sinanoğlu – Sinan Arsal – Güler Arsal – Bülent Akçasu – Asuman Akçasu – Ece Vitrinel – Vildan Sarıoğlu – Leyla Batgi – Elvan Koçer – Reyda Ergün – Ayşe Draz – Yelda Onan – Özkan Karayel – Saadet Karayel – Ezio Colombo – Burcu Altıntaş Colombo – Nizamettin Gökçesu – Nuriye Gökçesu – Noyan Arat – İlker Karabulut – Hakan Serdar Sarıgül – Aylin Akdeniz – Alemdar Kadıoğlu – Kuntay Göktuğ Doğan – Uzay Tosun – Atilla Çalışkan – Selin Karabulut Çalışkan – Gürol Irzık – Sibel Irzık – Ebru Karaibrahimoğlu – Aslı Çağış – Memduh Mahmutoğlu – Kadri Çalım – Müge Gürsoy Sökmen – Özgür Solmaz – Füge Orhon – Yeşim Özsoy Gülan – Pınar Yüksel – Aykut Bal – Batu Orbay – Burcu Orbay – Oğuz Uzer – Göktürk Uyan – Güven Donatan – Saadet Donatan – Mahmut Nizam Özlütaş – Akın Savaş Yıldırım – Gülden Arsal – Gülçin Yücel – Meltem & Ersan Üldes – Serkan Yılmaz – Elif Yıldırım Yılmaz – Sezgin Yiğit
People who gave us a hand to finish our roof
Before 2014 winter we launched a donation campaign in order to finish our roof. We were able to cover one fourth of our costs from the money which came from the campaign. We are grateful to people on the list below, who responded our call for help.
(In alphabetical order)
Ahmet Süruri – Ahmet Uruk – Alkım Tatlı – Alper Süzer – Alper Ünlü – Alphan Arseven – Anıl Özselgin – Arda Özkaynak – Aslı Yılmaz – Atilla Acar – Aydın Evren Özol – Aykut Bal – Ayşe Deniz Altınay – Ayşe Gün İşgör – Ayşegül Demir Çorlu – Ayşen Aksakal – Azer Koçulu – Bahar Karaoğlu – Banu Akkok – Banu Kanıbelli – Barış Aydek – Barış Çakmak – Barlas Selçuk – Behçet Uğur Töreyin – Behiç Ferhatoğlu – Berk Kutay – Berrin Dinçer – Betül Yaşar – Bora Cebeci – Bülent Esentepe – Bülent Tanilli – Burcu Özdamar -Buse Buket – Büşra Ersanlı – Can Başkent – Can Koçak – Can Özay – Can Şiram – Caner Özen – Cansu Gülergün – Cem Uslu – Ceren Can – Colleen Casey – Deniz Şahin – Dilara Sevda Susur – Dilara Topuklular – Dilek Karasoy – Dilek Yurdakul Uyar – Ece Çelikçapa – Efe Keleşoğlu – Efsa Kuraner – Elif Selen Ay – Elif Türker – Emine Meltem Çiftçi – Emre Bakır – Emre Güleç – Engin Ağdoğan – Engin Öncüoğlu – Erdem Bıyık – Erel Elbaşı – Erkan Canözü – Eser Bayram – Esin Arkan – Esma Şenel – Evrim ve Öner Urçum – Evşen Korkmaz – Eylem Bayar – Eylül Biçer – Eylül Kılıç – Eyüp Emre Aktemur – Ezgi Bilgiç – Faruk Keskin – Fatih Gençkal – Fatma Gül Altındağ – Fatma Öz – George F. Ramsay – Gökçe Yıldırım – Gökçen Gökçebağ – Gökhan Horzum – Gökşen Şahin – Gonca Atasayan – Gonca Sibel Kaçamak – Gönenç Göçmengil – Görme Yeri (Tiyatro Topluluğu) – Gülçin Yücel – Günhan Ulutaş – Hakan Çelik – Hakan Yücel – Hakkı İnanç – Hande Demirli – Harun Pekşen – Hatice Çağlar – Hira Tekindor – Hüseyin Tüfekçilerli – Hüseyin Yılmaz Ulus – İbrahim Emre Gündoğdu – İlhan İzgi – İlker Karabulut – İlknur Müjdeci – İpek Soran – Işık Öztürkeri – Jak Akdemir – Jonathan Kaplan – Kevser Peker – Kürşat Bilgin – Lami Barış Sunal – Matthew Van Horn – Mebrure Nilgün – Mehmet Emin İnci – Mehmet Fatih Uslu – Melek Savaş – Melike Yılmazel – Melisa Güler – Meltem Sungur – Meral Asa – Meri Demir – Mesut Timur – Metin Bekil – Müge Alaboz – Muhammed Batuhan Durmuş – Muhammet Kalyoncu – Münir Can Yılmaz – Murat Aygün – Murat Eğrikavuk – Murat Erkartal – Murat Gülsoy – Murat Kuru – Mustafa Yiğit Battal – Muzaffer Reha Umutlu – Nalan Toraman – Nazım Yenier – Nazlı İlay Yılmazlar – Nihan Bora – Nilüfer – Beytur Borovalı – Nuray Kılınç – Nurhan Suerdem – Nurullah Doster – Oğuzhan Aygün – Oğuzhan Çelebi – Okan Yazar – Ömer Faruk Zora – Önder Güvenç – Onur Berk Arslanoğlu – Orhan Kerem Pakdemir – Osman Serdar Basmacı – Oya Dursun – Oyun Atölyesi – Özkan Danyıldız – Papatya Taşpınar – Pınar Düzel – Pınar Eğilmez – Pınar Karaduman – Pınar Şirvancı – Robert Karayan – Rüya Bilgin – Sabahattin Gündüz – Sami Umut Can – Savaş Yıldırım – Sedat Arıcıoğlu – Selin Özokçu – Semih Karakurt – Serhat Gücüm – Serkan Çenberlitaş – Serkan Uzel – Sertan Kazar – Sevdenur Aktaş – Sezi Çevik – Sibel Ercan – Simla Sakman – Sonja Berg – Şükrü Ozan – Suna Yıldırım – Tayfun İlbakan – Taylan Erten – Tiyatro Bereze – Tuba Tuncalı – Tuğçe Hakan – Tuncel Özsu – Turgut Derman – Uğur Kayatürk – Ulaş Özipek – Ümit Karaca – Umut Ülkem Torun – Utku Erdem – Varol Döken – Volkan Çıkıntoğlu – Yaman Yücesoy – Yasemin Timar – Yasemin Yılmaz – Yıldız – Yunus Ziya Arslan – Yusuf Kose – Yuvacan Atmaca -Zeynep Dursun – Zeynep Esin – Zeynep Perinçek Signoret
Myra Ajans – Bay Matbaa – Yalçınlar Cam – Ardıç Cam
People who performed for us
PINAR YÜKSEL, “SAPPHO” İLE, 27 ARALIK 2011 – BOŞ SAHNE, “LABİRENTLER” İLE, 28 OCAK 2012 – ATÖLYE TİYATRO TOPLULUĞU, “GERİ ÇEKİLEN DÜNYA” İLE, 4 ŞUBAT 2012 – EKİP TİYATROSU, “LARGO DESOLATO” İLE, 7 ŞUBAT 2012 – DESTAR TİYATRO, “CERB (DENEY)” İLE, 23 ŞUBAT 2012 – OYUNBAZ, “EKMEK PARASI” İLE, 8 MART 2012 – BULUTİYATRO, “TETİKÇİ” İLE, 11 MART 2012 – ALTIDAN SONRA TİYATRO, “FAİL-İ MÜŞTEREK” İLE, 12 MART 2012 – GNLEV, “YÜKSEK DERECE” İLE, 25 MART 2012 – İKİNCİ KAT PRO, “BULANIK” İLE, 26 MART 2012 – KORSAN TİYATRO, 4 NİSAN 2012 – AYBİKE ESİN TUMLUER, “ÇOK HÜCRELİ BÖLÜNEN” İLE, 4 NİSAN 2012 – KORSAN TİYATRO, 11 NİSAN 2012 – MARMARA OYUNCULARI, “HİZMETÇİLER” İLE 13 NİSAN 2012 – TİYATRO FOBİ, “MUT” İLE 19 NİSAN 2012 – NÜ KOLEKTİF, “BİLDİĞİN GİBİ DEĞİL” İLE 27 NİSAN 2012 – KRONİK KOLEKTİF “ARA” İLE 11 MAYIS 2012 – NETAŞ TİYATRO TOPLULUĞU, “BAHAR NOKTASI” İLE 12 MAYIS 2012 – İTÜ SAHNESİ, “İKİ EFENDİNİN UŞAĞI” İLE 31 MAYIS 2012 – OYUN ATÖLYESİ, “ANTONIUS İLE KLEOPATRA” İLE 3 HAZİRAN 2012 – KADIKÖY MAARİF MEZUNLARI TİYATROSU, “TANRI” İLE,14 TEMMUZ 2012 – JEHAN BARBUR, “SÜKUNETLİ ŞARKILAR” İLE, 7 OCAK 2013 – BİZİM TİYATRO, “YALANIN ARDINDAKİ” İLE, 21 ŞUBAT 2013 – TESAHNE, “BİR BİLİMADAMININ OYUNU: MUSTAFA İNAN” İLE, 6 ve 15 MART 2013 – ÇEKİRDEK SİRTO, ANKARA’DA, ESKİYENİ’DEKİ KONSERLERİ İLE, 14 MART 2013 – STUDİO 4 İSTANBUL, “OLMAMIŞ MI?” İLE, 17,24 ve 31 MART 2013 – ERKAN OĞUR VE İSMAİL HAKKI DEMİRCİOĞLU, KHEM’DEKİ KONSERLERİ İLE, 26 MART 2013 – ESMERAY, “YIRTIK BOHÇA” İLE, 28 MART 2013
Tiyatro Medresesi is certainly a project, which will resonate in Turkey and in all over the world. The budget of 800.000 TRY (430.000$ or 340.000€) seems to be necessary for the construction of Medrese. We succeded to collect 30% of the required amount and we have no doubt that we will collect the rest. We believe that there are many friends who wish to support us. We have determined several donation amounts as you see below. However, more or less donations are always acceptable.
ACT NOW! WE NEED YOUR SUPPORT!
Bank accounts for donations:
Performans Araştırmaları Merkezi Derneği (Performance Research Association)
Garanti Bankası (Garanti Bank)
SWIFT/BIC code: TGBATRIS
(TRY)IBAN No: TR88 0006 2000 0680 0006 2967 16
(€) IBAN No: TR67 0006 2000 0680 0009 0804 12
($) IBAN No: TR40 0006 2000 0680 0009 0804 13
We are grateful for life to those who do not hesitate to give their support!
1) Those who give 100 TRY or 50$ or 40€ and donate a BRICK will have a two-person invitation for a play.
2) Those who give 250 TRY or 125$ or 100€ and donate a SEAT to the amphitheater will have the right to a two-person full board accommodation for a night at Medrese, in addition to the privileges of the first group.
3) Those who give 2500 TRY or 1250$ or 1000€ and donate an ARCH will have the right to a two-person full board accommodation for a week at Medrese, in addition to the privileges of the first group.
4) Those who give 10.000 TRY or 5000$ or 4000€ and donate a ROOM will have a lifetime invitation for all the plays produced by Medrese and free access to all the publications of the Tiyatro Medresesi Publications, in addition to the privileges of the third group.
5) Those who give 25.000 TRY or 12500$ or 10000€ and donate a REHEARSAL ROOM will have the right to a two-person full board accommodation for two weeks a year at Medrese during the first ten years, in addition to the privileges of the fourth group.
6) Those who give 50.000 TRY or 25000$ or 20000€ and donate a PERFORMANCE HALL will have the right to a lifetime two-person full board accommodation for two weeks a year at Medrese, in addition to the privileges of the fourth group.
The names of all donors will be engraved onto the bricks and arches in the Madrasa. Furthermore, the names of our friends who donate a ROOM or HALL to Medrese will be given to those places, if they give the permission.Their names will live on as long as Medrese survives.
Frequently Asked Questions
– Who builds Tiyatro Medresesi? Who provides the finance?
There is no institution, which support us. We, performing artists from Seyyar Sahne (Stage on to Go) have invested all the money we scratched together. Thereafter, people from our friend and family circle who shared our enthusiasm supported us. Nowadays, we kindly accept all the support coming from artists, researchers or art-lovers. We are not against institutional support. However, we did not get any yet. Unfortunately, Turkish State or local municipalities do usually not support civil initiatives like the madrasa, since they have their own theatres.
– Is Medrese a profit-oriented institution?
No. Medrese is a non-profit organization. When the madrasa earns money from some projects, this money will be spent for the other projects in the madrasa or it will be given to the artists and artist candidates as scholarship.
– Why not “Academy”, “School” or “Center”, but “Medrese”?
As we tell in the “Why Medrese Architecture?” section, we have a special interest to the madrasa architecture.
– Will it be open also in winter session?
Medrese is open also in winter sessions and hosts a research team for the entire year. Besides, we are expecting artists and researchers as individuals or in groups, who will practice their own work. Probably program of the summer session will be more dense and crowded, however we will continue to do seminars, events, maybe also festivals in the winter session, too.
– Are the doors of Medrese also open to those who are not theatre player?
Of course. We have enough place in the courtyard of the madrasa for those who wants to carry out their own work. All artists, individual researchers or groups are welcome. There is also enough place to accommodate.
– If the doors are open to every artists, then why is it called “Tiyatro Medresesi”?
Besides providing space and possibility for the artists, we also would like to create a tradition at Medrese. As the constitutive team of Medrese, our area of expertise is theatre. Therefore, we claim to create this tradition in the scope of theatre. However our door is open to the demanding movie-makers, musicians, painters, authors, philosophers etc. The reason we often use the word only “Medrese” by skipping the word “Tiyatro” is because of our intention to be opened to all artistic disciplines.
– How many people can be hosted at Medrese?
We can host almost 50 people at dormitories and rooms. During the festivals, the capacity could be expanded to 100 by using sleeping bags and mattresses in the halls.
– How close is Medrese to the village Sirince?
You can walk in 7-8 minutes from madrasa to Sirince center. Medrese is located near the Nesin Matematics Village. Unfortunately, you can not walk to the sea side from madrasa. However you can reach to beach by car in 10-15 min.
– How can I participate to the theatre camps and workshops?
Every activity will have its’ own type of application. We would be pleased to inform you about application details if you give us your mail address. Our contact mail firstname.lastname@example.org If your application is accepted, it remains just one thing; coming to madrasa.
– How can I involve into the team?
In order to carry out a project in the madrasa, you do not need to be part of the team. Sending a detailed proposal and getting the acceptance is sufficient to work at Medrese. As a project coordinator, you will work in collaboration of the executive team of Medrese.
– How can I support?
By imagining a future for yourself at Medrese. If you can imagine yourself working, resting or watching a play at Medrese, please welcome.