Theatre artists Şaziye Konaç and Erdoğan Kavaz describe KISSA not just as a theatre production, but as an immersive experience that actively engages its audience.
This year, the KISSA project continues its second stage. In an interview with Voice Cyprus News, Konaç and Kavaz reflected on their artistic journeys spanning from Cyprus to Istanbul, their approach to developing KISSA, and the creative philosophies that guide their work.
Believing in the transformative power of art, the duo shared their creative processes in playwriting and directing, as well as insights into their future projects and dreams.
Question: Can you tell us about your journey from scriptwriting to directing in theatre?
Konaç: I was in Cyprus until I was 17. Then I went to study English Language and Literature at Istanbul University and never returned from Istanbul. After finishing university, I started taking acting classes. I trained first at the Müjdat Gezen Art Center and then at the Sadri Alışık Theater. I continued with my master’s degree in Text & Performance in the UK.
When I returned to Turkey, I joined Ferhan Şensoy’s Nöbetçi Theater. After that, I started working on dramaturgy in a private theater called Gri Sahne. Subsequently, I took directing training at Galata Perform and became an assistant director there. I also began directing plays myself. Additionally, I worked as an academic at Kadir Has University for 16 years. Most recently, during the pandemic, I decided to return to Cyprus.
After returning to Cyprus, I worked at a university for a short time. During that period, I met Erdoğan. We met on a spring day two years ago and decided to do something together. While on summer break, I came across a puppet. When I saw the puppet, I learned it belonged to Erdoğan. I sent him a photo and told him I wanted to write something for this puppet. Erdoğan said there was already a history with the puppet and that he would gladly act in the play I would write. Thus, I wrote the children’s play about the puppet Ide. Later, we found Gülsefa and realized the children’s theatre.
Kavaz: I have always been someone who tells stories and organizes things since my childhood. The other day, I talked about this with my grandmother; she mentioned that I would always perform on stage, tell stories, and perform for others. Theatre has never changed for me. I received an education in fine arts, worked with painting, and while I seem social, I also have an introverted nature. I have always advanced my expression and quest for meaning there. In high school, I focused more on theatre and decided to pursue it as a profession. I studied for four years at Anadolu University State Conservatory.
I worked in many theatres here, and participated in projects like the Lefkoşa Art Theatre. Then I decided to change the direction of my life and resigned from the municipal theatre. I wanted to participate in international projects. During this time, I entered a collaboration with the important theatre director Theodoros Terzopoulos, which lasted from 2017 to 2020. Then, the pandemic hit. I began writing plays for an amateur group called Theatre Maki and started working on my own products. So Kolektif started in 2017.
After the pandemic, I met with Şaziye in April 2023 and quickly embraced the idea that we could do something together. She said “I found a puppet, and want to write a story for it”. I said “I could perform it”. Seeing that pure enthusiasm in Şaziye really triggered a feeling for a new beginning. My faith in her has never wavered. We did our first performance on October 7, and the idea of reviving that project excited me.
Konaç: Erdoğan was very eager. He gave a motivational talk, which had a significant impact on the writing process. The beginning was beautiful. Everything really has its time. That puppet had been hanging on the wall for a long time. I looked at it for a long time and finally thought, “What is this?” I learned it had a history and understood it needed to come to life. Our ability to work together and create something beautiful became a source of motivation for future projects as well.
Question: Can you describe KISSA?
Kavaz: In 2017, I had realised a project called “Living Exhibition” at the Naci Talat Foundation with Maki. With this project, KISSA, we returned to the Naci Talat Foundation. The aim of KISSA was to capture a new breath with the audience. I wanted to present theater from a fresh perspective that deviates from the norm. KISSA is a play space; it is an experiential and design project. Therefore, KISSA could eventually realize KISSA 100. I prioritize developing a structure that reflects the needs of the audience through their participation.
Konaç: Erdoğan became the person who initiated the project and managed the project. I felt that I could contribute more this year, and while the initial stages were stressful, it became more comfortable this year because we saw that the process was working.
Kavaz: Even though the early stages were stressful, seeing everything fall into place over time makes me very happy. Identifying shortcomings in every new project is important for development.
Question: Is there a definition for this format? Can we refer to this form where the boundary between the stage and the audience is blurred, and individuals feel included in the play as “immersive theatre”?
Kavaz: Actually, it is neither an installation, nor immersive; nor is it a similar format. It is none of these; its characteristic is that it has a hybrid structure. This year, we added some changes to the scenes. We want to encourage the active participation of the audience. At the same time, our goal is to share the texture and impressions of the experience in KISSA.
People in our geography are not very accustomed to taking part in collective events. People generally come alone. KISSA aims to break this feeling of loneliness. We are trying to create a warm and sincere atmosphere by removing the distance between the audience and the stage.
Konaç: We did not provide a specific format for our writers. For example, when one actor talks to the audience, another actor narrates as if there were no audience. So, there are no classical rules; we only have a time limit and a rule that there should be only one person on stage. Being a part of the project is interesting. Last year, we had a more interactive structure. Some audience members had the opportunity to actively participate in the play, and I really enjoyed seeing that interaction.
Question: Let’s talk about your creative process when writing and directing these plays. How do you execute the process of carrying the idea from inception to the stage?
Konaç: I usually start by working visually. When I saw the puppet, I began to think of a young girl beside it. The stories being told impact me, and I start writing based on that story. Throughout the process, I strengthen the text by receiving various feedback. After writing, I find it quite interesting to go back and think about how I can include an actor in the play I wrote. As a writer, after considering the characters and plot, I tend to think, “What did the writer mean here?” when bringing it to the stage. The process of meeting with the actor is also very valuable to me.
Kavaz: My creative process can take shape in every moment and every way. Generally, I take small notes. I have a very analytical nature; I love observing the world and analysing my own social interactions. This year, I thought about focusing on relationships as a defining theme. I think we need to produce more work about relationships. In this regard, I am trying to explore and write about relationships on both romantic and other levels. During the writing process, it is important to sit and think while creating the first draft. When I meet with the actor, I try to ensure that both parties’ worlds intersect. It’s exciting to see how this new creation will come together with contributions from both me and the actor. I aim to enrich this process by considering many details during the creation phase.
Question: This year marks the second year for the plays. What projects are in the works for the future?
Konaç: I love working on new projects, and facing new challenges excites me. Right now, I have an adaptation attempt in mind that I haven’t tried before.
Kavaz: I have started thinking about KISSA’s third and fourth projects. I want to add new themes to KISSA and develop bolder projects. Additionally, personally, I continue to explore the innovative aspects of storytelling. By working on the combination of sound, light, and visual elements, I aim to provide the audience with an unforgettable experience.
I want to gather the short stories of KISSA and create an archive. I aim for these to become a book. Moreover, it is important to include new people in KISSA. This year, we plan to do more work with many new participants. I also think about incorporating collaborative work in new KISSA projects.
VOICE CYPRUS NEWS 2025
