Onthulling van een schilderij van de hand van Ahmet Ögüt
Onthulling van een schilderij van de hand van Ahmet Ögüt
On Saturday 13 September, theatre maker Meral Taygun will be honoured with her own portrait in the hall of fame of Internationaal Theater Amsterdam. Her work and legacy will be celebrated during a special programme in the Main Auditorium, in collaboration with The Need for Legacy and the Dutch Theatre Festival.
Festival Nederlands Theater Festival
Duration 120 minutes
Genre Perspective
Language Dutch
A pioneer in Dutch theatre
The portrait of Meral Taygun is the fifth in the growing gallery of influential theatre makers of colour, an initiative that highlights perspectives that have been overlooked for too long. Artist Ahmet Öğüt created the portrait, in which he makes Taygun's impact on Dutch theatre tangible.
Taygun was born in Turkey, studied at the Yale Drama School and played a key role in the Dutch theatre landscape from the 1980s onwards. She was one of the founders of Turkish theatre in the Netherlands, developed intercultural projects and was artistic director of the Amsterdam Theatre School for many years. Under her leadership, the current Amsterdam School of the Arts was established. Her work continues to inspire – generations of theatre makers carry on her vision. -|- The ITA portrait gallery is a collaboration between The Need for Legacy, ITA and the Dutch Theatre Festival. With each new portrait, the gallery grows into a tribute to creators who have helped shape Dutch theatre. The choice of Taygun is therefore not only a tribute, but also a re-evaluation of who we give a place in our cultural memory.
Ahmet Öğüt: artist and connector
Ahmet Öğüt operates at the intersection of activism and collective memory. In previous projects such as The Silent University and Bakunin's Barricade, he explores how art can contribute to social justice and historical awareness. His work is confrontational, participatory and deeply rooted in an international context of migration and identity. His involvement underlines the importance of this portrait as more than a symbolic gesture: it is an active correction of the theatre canon.