{"id":80,"date":"2023-05-13T18:56:46","date_gmt":"2023-05-13T18:56:46","guid":{"rendered":"https:\/\/www.critical-stages.org\/27\/?p=80"},"modified":"2023-05-22T13:16:52","modified_gmt":"2023-05-22T13:16:52","slug":"from-being-a-craftsman-to-being-an-artist-interview-with-cengiz-ozek","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/27\/from-being-a-craftsman-to-being-an-artist-interview-with-cengiz-ozek\/","title":{"rendered":"From Being a Craftsman to Being an Artist: Interview with Cengiz \u00d6zek"},"content":{"rendered":"\n

by Mehmet \u00d6zbek<\/strong>*<\/a><\/p>\n\n\n\n

Cengiz \u00d6zek was born in Istanbul (1964), and studied at the Traditional Turkish Decorative Arts and Theatre Department, Istanbul Municipality Conservatory. He is a depiction artist and actor of KARAG\u00d6Z, <\/em>which is on the UNESCO list of Intangible Cultural Heritage of Humanity. Cengiz \u00d6zek, who has opened more than thirty exhibitions on Turkish puppetry, has performed over 1000 shows around the world. He serves as Chairman of the Istanbul Karag\u00f6z Puppet Foundation, of which he is the founder, and the general art director of the International Istanbul Puppet Festival. In the following text, we present highlights of our interview with Cengiz \u00d6zek, focusing on the art of KARAG\u00d6Z<\/em> in the context of interculturality, the transmission of this art form to future generations, and the possibilities of using this art form as an educational model.<\/p>\n\n\n

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Cengiz \u00d6zek: Photo: Courtesy of Cengiz \u00d6zek<\/figcaption><\/figure>\n<\/div>\n\n\n

Mehmet \u00d6zbek: There is a new book on Karag\u00f6z published by the Istanbul Metropolitan Municipality. Your article “Karag\u00f6z Plastics and Aesthetics” stated that the works created and the depictions used, based on the Symbols of Turkish Culture and the directorate, can also affect Karag\u00f6z. What kind of design should be adopted while doing this type of theatre? And what limits should be imposed, if at all?<\/p>\n\n\n\n

Cengiz \u00d6zek: <\/strong>Karag\u00f6z has a distinct artistic aesthetic, characterized by a profile view of the face and a three-quarter view of the body, which angles slightly towards the audience. The face remains in that view because it looks at the person in front of it. Such a depiction is vital in showing the body’s perspective and determining its volume. Once this basic technique is understood, the rest is straightforward and depends on the artist\u2019s drawing ability. We have conducted many workshops all over the world, both for adults and children. The participants are given some specific conditions, such as using creatures from the deep sea, but it is possible for them to improvise. They can draw the animal of their imagination with the Karag\u00f6z technique, with the head entirely in profile and the body in three-quarter positions, according to their dreams. While it is possible in these workshops to apply such a requirement to a human character, the attendees feel a little uneasy about using people. Working with animal subjects, such as those from dreams, tends to be more efficient.<\/p>\n\n\n

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Tulpar \u2013 Winged Horse Figure in Turkish Mythology. Depicted by Cengiz \u00d6zek. Photo: Courtesy of Cengiz \u00d6zek<\/figcaption><\/figure>\n<\/div>\n\n\n

And what happens when you work with adults? And what can you say about bringing new characters to life in other parts of the world when you use only the Karag\u00f6z technique?<\/p>\n\n\n\n

Our work with adults tends to focus more on data applications. We have had very successful results there, too. For example, I have a student in Mexico who uses my approach and creates his own plays. Diego Ubel has also established a modern regional theatre by applying the Karag\u00f6z technique and following the previously mentioned rules. Ubel’s plays tend to tackle contemporary issues related to his own culture or similar cultures. He calls attention to the problems of victims in countries facing problems similar to those of his own country, and he is successful in this regard.<\/p>\n\n\n\n

A drawing technique that works very well for us is the Karag\u00f6z technique. So, we could say that great minds think alike. Of course, we can also see this technique in the Chinese shadow play. Of course, the Chinese shadow play does not have to show a hundred percent profile view on the faces most of the time. Sometimes we can get a front view, or the face can be seen at an angle of three-quarters, or at 45 degrees. As in most Karag\u00f6z depictions, the profile and the body are at 45 degrees. Known as Wayang Kulit, whose original name means leather puppet<\/em>, it parallels the basic idea of leather shadow puppets made in Indonesia.  That is to say, it is based on the same design technique.<\/p>\n\n\n

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Cazu (Bugaboo) in Karag\u00f6z. Depicted by: Cengiz \u00d6zek. Photo: Courtesy of Cengiz \u00d6zek<\/figcaption><\/figure>\n<\/div>\n\n\n

You mention that the design features of the \u00c7intemani pattern are also used in Karag\u00f6z during the creation phase of the images. Can you explain this tradition to us in a bit more detail? And what do you think about using this technique in new character creations like the Karag\u00f6z design?<\/p>\n\n\n\n

\u00c7intemani is a form of decoration rather than a technique. While it is not mandatory, \u00c7intemani is a very important element in our traditional Turkish decorative arts. It is even thought to be important in the Buddhist faith, and is considered by some to represent the three faces of Buddha. In our country, however, especially during the Ottoman period, it was assumed that \u00c7intemani symbolized power.<\/p>\n\n\n\n

When I was fourteen or fifteen years old, I had some important conversations with my teacher, S\u00fcheyl \u00dcnver, a distinguished professor who established and created the foundations of the illumination-miniature and traditional Turkish ornamental arts that have continued in our country up through the present. My professor also pointed out that the \u00c7intemani had tiger stripes and leopard spots. This display of animal power can also serve a symbol of address; as you know, the frontline soldiers in the Ottoman army, the ones who attacked first, always wore frightening predator animal skins; this is an established fact. In Karag\u00f6z, on the other hand, we see these animal skins used only as ornamental elements.<\/p>\n\n\n\n

How was this ornamental element used during the Ottoman period?<\/p>\n\n\n\n

We understand that this ornamental element appears in the work of Hayali Nazif Bey. Also known as Hisar Karag\u00f6zc\u00fc, Nazif Bey served as an officer in the Ottoman army with the rank of captain. We know that he was also in charge of the palace and the harmonica-\u0131 H\u00fcmayun, and that he performed at the palace; he confirms this role himself. In my opinion, Nazif Bey is one of the masters who can best describe this ornamental technique; we can see traces of \u00c7intemani in Nazif Bey’s figures, which I also exemplify in the book. Of course, Nazif Bey does not always use \u00c7intemani, but he uses it consciously. Rag\u0131p Tu\u011ftekin, my teacher’s teacher, used this technique as well. We even see this type of ornamental technique in the work of his close friend, Hayali Memduh Bey. Maybe they were inspired by each other; this seems most likely. However, we know that each is also familiar with Turkish culture in general, because \u00c7intemani is such a widely used pattern.<\/p>\n\n\n\n

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