Ankara Devlet Opera ve Balesi\u2019nin sahneledi\u011fi Carmen, tutkuyu sahiplenmeye d\u00f6n\u00fc\u015ft\u00fcren sert y\u00fczle\u015fmesiyle dikkat \u00e7ekiyor. Reji ve koreografisi Carlos Vilan imzal\u0131 yap\u0131mda, Nihan \u0130nan\u2019\u0131n yorumu karakterin \u00f6zg\u00fcrl\u00fck \u0131srar\u0131n\u0131 sahnenin merkezine ta\u015f\u0131yor.Ya\u011fmurlu bir Ankara ak\u015fam\u0131nda, kendime uzun zamand\u0131r erteledi\u011fim bir \u00f6d\u00fcl verdim: Ankara Devlet Opera ve Balesi\u2019nin Carmen\u2019i. Ya\u011fmuru f\u0131rsata \u00e7evirdim, erkenden Ulus\u2019taki Opera Sahnesi\u2019nin yolunu tuttum. Fuayede k\u0131sa bir \u00e7ay molas\u0131\u2026 Ard\u0131ndan sanat\u00e7\u0131 kantininde oyuncu arkada\u015flarla bulu\u015ftuk. Sahneye \u00e7\u0131kmadan \u00f6nceki o haz\u0131rl\u0131k hali insan\u0131n i\u00e7ine de siniyor; nefes, beden, ak\u0131l ayn\u0131 \u00e7izgiye geliyor. Onlar\u0131 ses a\u00e7ma provas\u0131n\u0131n e\u015fi\u011finde kendi heyecanlar\u0131yla ba\u015f ba\u015fa b\u0131rak\u0131p salona ge\u00e7tim, yerimi ald\u0131m.<\/p>\n\n\n\n
Carmen \u201cklasik\u201d diye kolay izlenen bir eser de\u011fil. Tam tersine, her sahneleni\u015finde g\u00fcn\u00fcm\u00fczle yeni bir ba\u011f kuran, tutkunun \u201ca\u015fk\u201d k\u0131l\u0131\u011f\u0131nda nas\u0131l sahiplenmeye d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fcn\u00fc g\u00f6steren sert bir y\u00fczle\u015fme. Bizet, Sevilla\u2019n\u0131n kalabal\u0131\u011f\u0131nda ba\u015flayan o \u00e7ekimi, perdeler ilerledik\u00e7e insan\u0131n i\u00e7indeki daralmaya \u00e7evirir. Meydandan meyhaneye, da\u011flara ve arenaya uzanan yol, asl\u0131nda karakterlerin i\u00e7indeki yolun kapan\u0131\u015f\u0131d\u0131r.Bu prod\u00fcksiyonun belirleyici tercihi, dans\u0131 bir vitrin unsuru gibi de\u011fil, hik\u00e2yenin dili gibi ele almas\u0131. Reji ve koreografiyi \u00fcstlenen Carlos Vilan, kalabal\u0131k sahneleri \u201cg\u00fczel bir tablo\u201d olarak dondurmak yerine, kalabal\u0131\u011f\u0131n bask\u0131s\u0131n\u0131 b\u00fcy\u00fcten bir ak\u0131\u015f kuruyor. Meydandaki askeri d\u00fczen, fabrikan\u0131n toplu hareketi, meyhanenin ta\u015fk\u0131nl\u0131\u011f\u0131, da\u011f\u0131n tedirginli\u011fi ve arenan\u0131n g\u00f6sterisi; hepsi ayn\u0131 damar \u00fczerinden ilerliyor: Carmen\u2019in \u00f6zg\u00fcrl\u00fck \u0131srar\u0131n\u0131 \u00e7evreleyen g\u00f6r\u00fcnmez duvarlar.<\/p>\n\n\n\n
Orkestray\u0131 Rustam Rahmedov y\u00f6netiyor. Carmen\u2019de \u015fefin as\u0131l s\u0131nav\u0131, par\u0131lt\u0131dan \u00e7ok denge. Solistin metni ta\u015f\u0131d\u0131\u011f\u0131 anlarda orkestra nefes olmal\u0131, toplu sahnelerdeyse gerilimi y\u00fckselten bir bas\u0131nca d\u00f6n\u00fc\u015fmeli. Bu ak\u015fam, m\u00fczi\u011fin ritmik omurgas\u0131 sahnenin dramatik nabz\u0131na iyi tutunuyordu, Bizet\u2019nin melodik zek\u00e2s\u0131 yaln\u0131z \u201cg\u00fczel\u201d kalm\u0131yor, kaderin ad\u0131m\u0131n\u0131 da h\u0131zland\u0131r\u0131yordu.<\/p>\n\n\n\n
Sahne d\u00fcnyas\u0131n\u0131 kuran ekip, eserin ge\u00e7i\u015flerini diri tutan bir b\u00fct\u00fcnl\u00fck sa\u011fl\u0131yor. Zeki Sarayo\u011flu\u2019nun dekoru, Sevilla\u2019y\u0131 kartpostal esteti\u011fine hapsetmeden mek\u00e2nlar\u0131n psikolojisini a\u00e7\u0131yor. Ay\u015feg\u00fcl Alev ile Gizem Betil\u2019in kost\u00fcmleri, hik\u00e2yedeki s\u0131n\u0131fsal ve ahlaki etiketleri g\u00f6r\u00fcn\u00fcr k\u0131l\u0131yor. Ali G\u00f6kdemir\u2019in \u0131\u015f\u0131\u011f\u0131, meydan\u0131n a\u00e7\u0131kl\u0131\u011f\u0131yla meyhanenin g\u00f6lgeli \u00e7ekimi aras\u0131nda do\u011fru bir gerilim hatt\u0131 kuruyor. Koroyu Ivan Pekhov \u00e7al\u0131\u015ft\u0131r\u0131yor; \u00e7ocuk korosunda \u00d6yk\u00fccan Yav\u015fan imzas\u0131 var. Ba\u015fkemanc\u0131 Sibel G\u00fc\u00e7l\u00fc de sahnedeki omurgay\u0131 ta\u015f\u0131yan isimlerden.<\/p>\n\n\n\n