Gokcen Ergene

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Performance + Theatre

The Last March of Alerik

created and performed by
Gokcen Ergene
Vuk Mitevski
Garin Marschall

The Last March of Alerik is a multimedia performance piece. It is created within the vision of a soldier and concentrates on exploitation and realization of the short interim from the time he gets shot till the moment his heart actually stops. The performance is utilizes clay animation and video projections, large-scale paintings, hanging sculptures, music, lighting design as part of narrative, to tell the story of Alerik.The performance is divided into 5 sections:

1.sanguinolentus-a-um: (wounded, stained by blood, injured, blood-red)
2.dirus-a-um (fearful, horrible, frightful, scared, unlucky)
3.reminiscor-I dep:(to call to mind, recollect, remember)
4.solacium: (consolation, happiness, comfort, relief)
5.excessus-us: (departure from life, funus: a funeral, burial, ruin)
The film itself is a soldier’s birth, from dirt to blood

excerpts from performance: (sorry about the bad audio)

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Institute Benjamenta
(a journal of listening to a plateau which people call the world)

Based on the novel JAKOB VON GUNTEN by ROBERT WALSER

DIRECTED BY: Gokcen Ergene
CHOREOGRAPHY: Susan Sgorbati
SET / COSTUME DESIGN: Sue Rees
LIGHTING DESIGN: Garin Marschall

The process. Take a text. Not written for the stage. The text has 28 or so possible plays in it. The text will be modified. New text will be created from that text. Not by playwright. By people involved. Director, actor play playwright. It is then created from scratch. New work. New dance. New music. Not taken. Based on. Music, part of story. Film, as part of story. It is all part of one. No strict definition between elements. Elements blend into each other. Thus the process itself is filmic. A riddle. The riddle is “How?” How is the riddle solved? It is solved by actor playing director, director playing designer, designer playing choreographer, choreographer playing playwright when fit. And back and forth.

- Gokcen Ergene

Performers: John Boyd, Cristian Panaite, Ann Viera, James Zatolokin, Jamil Olawale Kosoko, Daniel Broderick, Teresa Camou, Rivera Cook, Daniel Herter, Oberon Redman, Laura Wallace, Cosmo Whyte, Josiah Weiss, Lawson Wulsin, Jacob Wolf Music written and performed by: Hans Buetow, Adele Mori, Sallie Scribner, Joe Westerland Asst. Director: Munizeh Sanai Sound Design: Dexter Wayne Master Electrician: Krissy Wright

trailer/excerpt from performance:

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Kosovo Kosova

created and performed by
Gokcen Ergene
Vuk Mitevski
Garin Marschall
Nadir Naqvi

Kosovo Kosova is a musical multimedia performance piece that investigates tangent points between film, composed and improvised music, and animated painting. The main theme of the performance revolves around the essence of the city of Kosovo that has been warn-torn for centuries and still stands with the persistence of a bull in a never-ending bullfight.

video excerpt from performance:

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Current/Recent Projects

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Sometimes I take photographs that do not necessarily have a forced fictional context but all fiction = reality = fiction. If one were to look at a portrait of themselves, one could see tigers, broken bottles, sharp knives, a river, some bad poetry, some good poetry, X years of regret, a couple of honestly beautiful junctures, a father's shadow, horses, a gun, the Mediterranean sea, Pacific sea, etc. In that formal sense, the fiction in a photograph is its only content. There is no such thing in life as non-fiction or documents. Nothing is a document, there's no truth, there's no capturing the moment as the "moment" is only a product of a false understanding of life-happening also referred to as "time" by degenerates.