Arslan, perhaps because his diverse roots, Macedonian, Kosovar, Turkish, Belgian, Flemish, he somehow makes a reconstruction of texts, scenes, authors, images together to create a new structure where the unconscious has more or less equal rights as consciousness. In his words "The Act and the Dream have had sex with each other and had a child called Time."
A ‘Living’ in a Timeline I search myself in my dreams, and my dreams on podium.
I make/remake plays in Belgium since 1999; furthermore, I am also active in dance and visual arts. My aim is that I have been searching and found a way of my own making pieces in multidisciplinary dialogs. As in the basic Drama of Empty Space, the “presence and absence” communicates with the audience in more interesting and complimentary ways. I am less interested in identity of characters or identity of narrativity! Instead of this, I try to create atmospheres where ‘issues’, ‘conflicts’ and ‘behaviors’ finds a new way to talk to new public which runs and runs in this global, local (actually GLOCAL) world. A text is for me only a departure point; to let arise to theatre, that text must be transformed firstly in my dreaming fantasy world; in that transformation the subtext of the author himself can be sacrificed to mine. If I choose an existing text, first I let all the information and the tale of the text besides me. Such as poetry and sculptures does. That’s why like in a fiction movie I create a timeline where all the pieces fall in and remove in space, re-construct too tell a new perspective or the old one in a contemporarily meaning.
Prosperity allows us to live more quietly in comfort, but also has taken away from us the strength and need for dreaming. Dreams, to feel what our origin is. Our identity between primordial and post modern human.
I do not believe that we should find new themes to be happy, healthy and alive but new ways to communicate the old ones. There is no re-design of life. So yes, we should question arty farty like Neil Lebut does in his theater play ‘Shape of the Things’ and doesn’t leave space for intellectual masturbation. But as Kafka tried, as Samuel Becket , as Pina Bausch tried. Trying to catch this fast forward life. Before it destroys our perception of humanity.
The instinct is the father, and the intuitive is the mother of my research in theatre.