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<\/figure>\n\n\n\nSamsun yorumunda en \u00e7ok ho\u015fuma giden \u015fey, yap\u0131t\u0131n hafif g\u00f6r\u00fcnen yap\u0131s\u0131n\u0131n alt\u0131ndaki katmanlar\u0131n kaybolmamas\u0131 oldu. \u015eahan G\u00fcrkan\u2019\u0131n rejisi, eseri yaln\u0131zca g\u00fcld\u00fcrmeye yaslam\u0131yor; karakterlerin i\u00e7 gerilimini de g\u00f6r\u00fcn\u00fcr k\u0131l\u0131yor. B\u00f6ylece seyirci bir yandan sahnedeki mizah\u0131n ritmine kap\u0131l\u0131rken, \u00f6te yandan her kahkahan\u0131n alt\u0131nda ba\u015fka bir duygunun k\u0131p\u0131rdad\u0131\u011f\u0131n\u0131 hissediyor. Uberto\u2019nun sert g\u00f6r\u00fcnen d\u00fcnyas\u0131yla Serpina\u2019n\u0131n k\u0131vrak zek\u00e2s\u0131 aras\u0131ndaki kar\u015f\u0131la\u015fma da sahnede giderek daha sahici bir \u00e7ekime d\u00f6n\u00fc\u015f\u00fcyor.<\/p>\n\n\n\n
Bu yap\u0131m\u0131n g\u00fc\u00e7l\u00fc yanlar\u0131ndan biri de m\u00fczi\u011fi yaln\u0131zca e\u015flik eden bir unsur gibi de\u011fil, sahnenin soluk al\u0131p veri\u015fine kat\u0131lan bir damar gibi kullanmas\u0131. Pergolesi\u2019nin zarif, ak\u0131c\u0131, k\u0131vrak m\u00fczi\u011fi burada hik\u00e2yenin ruhunu ta\u015f\u0131yan ba\u015fl\u0131ca unsurlardan birine d\u00f6n\u00fc\u015f\u00fcyor. Sahnede kurulan d\u00fcnya; dekoru, kost\u00fcm\u00fc ve \u0131\u015f\u0131\u011f\u0131yla bir b\u00fct\u00fcnl\u00fck duygusu ta\u015f\u0131yor. M\u00fczik sorumlulu\u011funu Diego Moccia \u00fcstlenirken, dekor tasar\u0131m\u0131nda Orhan A\u00e7\u0131kg\u00f6z\u2019\u00fcn, kost\u00fcmde G\u00fclnur \u00c7a\u011flayan\u2019\u0131n, \u0131\u015f\u0131kta ise Erdem Kuzaytepe\u2019nin katk\u0131s\u0131 yap\u0131m\u0131n atmosferini tamaml\u0131yor. G\u00f6ze batmadan kurulan bu estetik denge, oyunun tad\u0131n\u0131 art\u0131r\u0131yor.<\/p>\n\n\n\n
\u201cHan\u0131m Olan Hizmet\u00e7i\u201dnin as\u0131l g\u00fcc\u00fc, b\u00fcy\u00fck laflar etmeden \u00e7ok \u015fey s\u00f6yleyebilmesinde. Bir evin i\u00e7inden yola \u00e7\u0131k\u0131p insan tabiat\u0131n\u0131n t\u00fcrl\u00fc h\u00e2llerini \u00f6n\u00fcm\u00fcze koyuyor. G\u00fcld\u00fcr\u00fcyor ama yaln\u0131zca g\u00fcld\u00fcrmekle yetinmiyor. \u0130nsan\u0131n d\u00fczen kurma ihtiyac\u0131n\u0131 da, o d\u00fczenin i\u00e7inde sevgiyi, arzuyu ve zaaf\u0131 bast\u0131rma \u00e7abas\u0131n\u0131 da sezdiriyor. Bazen bir evin i\u00e7i, koca bir toplumun k\u00fc\u00e7\u00fck bir \u00f6zeti gibi durur. Bu eser de biraz \u00f6yle.<\/p>\n\n\n\n
Samsun\u2019un gri g\u00f6\u011f\u00fc alt\u0131nda, bayram\u0131n da\u011f\u0131lm\u0131\u015f ne\u015fesiyle \u00e7\u0131kt\u0131\u011f\u0131m o ak\u015fam, Zehra Y\u0131ld\u0131z Salonu\u2019nda izledi\u011fim bu yap\u0131t bende ho\u015f bir iz b\u0131rakt\u0131. Sahilden salona uzanan o k\u0131sa y\u00fcr\u00fcy\u00fc\u015f, g\u00fcn\u00fcn i\u00e7inden \u00e7\u0131k\u0131p sanat\u0131n alan\u0131na girmek gibiydi. D\u0131\u015far\u0131da deniz, bulut, r\u00fczg\u00e2r; i\u00e7eride m\u00fczik, oyun, \u0131\u015f\u0131k\u2026 Bazen bir \u015fehri yeniden duymak i\u00e7in uzun uzun dola\u015fmak gerekmez. Bir sahne, bir temsil, yerli yerinde kurulmu\u015f bir estetik d\u00fcnya da bunu yapabilir. Samsun\u2019da o ak\u015fam biraz da b\u00f6yle oldu.<\/p>\n\n\n\n