Begüm Erciyas (TR) & Matthias Meppelink (DE)

Begüm Erciyas (° ’82, Ankara) studied molecular biology and genetics in Ankara, and was engaged in various dance projects at the same time. Later, she studied at the Salzburg Experimental Academy of Dance in Austria. Since then, she has been an active member of Sweet and Tender Collaborations, taking part in several collaborative projects. She was artist-in-residence at Akademie Schloss Solitude Stuttgart, K3- Tanzplan Hamburg, TanzWerkstatt Berlin and at Goethe Institute Kyoto.

Her most recent pieces are Ballroom (presented in the frame of LOOPING 2010), MATCH (Tanz im August Berlin, 2011), this piece is still to come (Kampnagel Hamburg, 2012) and A Speculation (Hebbel am Ufer HAU, 2014). This last production was her first residence at BUDA Kortrijk.

Begüm now will be working at the BUDA studio’s with Matthias Meppelink. Matthias studied at the Institute for Applied Theatre Studies in Giessen (DE), is founding member of the performance group Monster Truck and currently working as a musician and light designer in different constellations

Begüm Erciyas (TR) & Matthias Meppelink (DE): Voicing Pieces

Together they are creating Voicing Pieces, a long-term process with multiple outcomes taking place between 2014 and 2017. It focusses on the act of speaking, while simultaneously listening to one’s own voice, as a theater. One’s own voice becomes the site of the event. One’s own voice becomes a spectacle, a fascination and/or a surprise.

In Voicing Pieces, audience members will pass one-by-one, through a parcours, which will lead them through various stations. In order to facilitate the encounter with one’s own voice, small theater stages will be designed that concentrate on the head. Each of these head-theaters will be equipped with technical possibilities. At each station, the audience member will, sooner or later, find a script to read out loud. He/she will discover, that not only (s)he is playing with his/her voice, but also, that his/her voice is playing with him/her. 

At BUDA, they’ll try to find out what strategies are needed to bring a theatrical dimension, once the given text is activated by the audience’s voice. They will also make the first attempt to melt different stations into a parcours with vocal, technical and content related connections. 

In residentie:
On tour: