"It's hard to pull out and the pull of the group is big in Ceren Oran's "Schön Anders". At least at first. The dance piece, which premieres today at Hoch X, is the first abstract work for children by the Istanbul-born choreographer, who is one of the most interesting, active and best networked artists on the Munich independent scene with her musical dance figure performances "Elefant aus dem Ei" and "Sag mal ...", which can be seen again at the Kuckuck-Festival at the end of March. Not to mention the fact that she also does pieces for adults and as a dancer she spices up even mediocre productions of others here and there - simply by her presence. (...)

(…) What is told here without words and figures about the friction between the self and the world, about trendsetting and crossing boundaries, should be seen by everyone. Because the 40-minute piece is wonderfully unpretentious and funny. And because everything is so finely crafted, from the gradual composition of a common language of movement to the growing out of minimal deviations to downright outbursts, as if the people on the otherwise empty stage were bound to each other through an invisible thread. (...)"

Süddeutsche Zeitung, 06 February 2020 - For Schön Anders - Click for Full Article

"(...)How the 35 - year - old Oran, lovingly tweaks her works and always finds a way to concentrate on a certain focus; leaves you childishly amazed. Or she consistently pushes the play with a prop to the limit of possible variations of use. In a way that rarely strays too far from dance as a medium and mediating element of communication between performers and audience. (...) Schön Anders” unfolds into a charming and amusing motoric treatise on group behaviour and otherness, on finding identity and belonging. With the help of Sigrid Wurzinger's costumes, which are uniform only in colour, and composer Benny Omerzell live on the key and knocking soundboard, ”Schön Anders” is a humorous, abstract and impressive dance performance. …" 

Tanznetz, 10 February 2020 - For Schön Anders - Click for Full Article 

"(…)Oran's seven-hour long dancing intervention was not just a pack of random actions, but rather a conceptually well thought-out composition both leaning on the personalities of the participating dancers and drawing inspiration from the medieval world or its iconographic documentation.

(...)These alternated with emotionally deep scenes whose dancing qualities were even more interesting than their content. Beautifully flowing and never ending, the movements were floating through the plot structure, time and space like a flying bird. The lightness of dancing details expressed in gestures had a nearly magic aura to it, pulling everything in the surroundings like a magnet.

Opera Plus, November 2019 - For Who is Frau Troffea? - Click for Full Article

"Ceren Oran's second dance theatre piece in Munich for the youngest ones: sensitive and miraculous.

(…) As a dancer Ceren Oran knows how to inspire even the youngest ones with her dance performances for kids through sculptural, but never dull movements. She opens up the gaze of the very small ones for this silent language. The pieces she created as a choreographer leave the audience stunned as she never relies too much on cuteness and finds the right mixture between all arts, colours and shapes involved. Nowadays, this is (still) very hard to find in Munich."

Münchner Feuilleton, 1 November 2017 - For Elefant aus dem Ei

 

"(...) In contrast to many other contemporary dance performances for adults, the audiences love Elefant aus dem Ei and also the prior performances by the Ceren Oran, who lives in Munich and is originally from Turkey. In a very playful manner the audience is guided towards the theatre and loves it from the start. By the way: the adults who accompany a young child also love it. If we support and attend such performances, we will be able to welcome dance and theatre enthusiasts also in the future. Highly recommendable. Would love to see more of it. Full stop." 

Tanznetz,  18 November 2017 - For Elefant aus dem Ei - Click for Full Article

"(...) Ceren Oran wrote the concept for "Rush Hour" together with her three wonderful performers and all three might be united in some images, but they still narrate their own story of excessive demand (...). The most impressive image on this meagre stage however is what characterises our digitalised, machined and rushing society best: electricity(...) "Rush Hour" ends after precisely one hour, time was understood in its literal sense and one is one's own propulsion again. Shame, actually, as this "Rush Hour" was fantastic. “ 

Tanznetz.de, June 2017 - For RUSH HOUR - Click for Full Article

"(...) Ceren Orans Sag Mal ... with Tuncay Acar (music), and the Israeli dancer Roni Sagi - shows the willingness to continue to conquer new places and audiences. It also shows that they only last year The cultural department introduced funding for children's and youth theater productions is quickly bearing fruit. Sag Mal...'s gratifyingly unsophisticated communication and elemental skills cover the gender of her protagonists with distinctive movement languages and make them a minor matter."  

Süddeutsche Zeitung, 23 March 2016 - For Sag Mal... - Click for Full Article

 

“(...) A wonderful demonstration  of overcoming communication problems without the use of words. (...) The limits of my language are the limits of my world" declared Ludwig Wittgenstein. Not necessarily. At least not in Ceren Oran's poetic, imaginative play.“

Süddeutsche Zeitung, 10.02.2016 - For Sag Mal... - Click for Full Article

„ (...) Nicht nur der Körper immigriert in ein Land, auch Verstand, Herz und Seele. Nur können diese Aspekte menschlichen Seins unterschiedliche Reisedauer haben", schreibt Oran über ihre für ein ungefördertes Projekt sehr aufwendig produzierte Arbeit, die Lust macht auf mehr.Die Neu-Münchnerin Oran hat Ausstrahlung, einen weiten Horizont und einen klaren Zugriff.“

Süddeutsche Zeitung, June 2015 - For Heimat...los! - Click for Full Article

„(...) Was bleibt? Ein sehr beeindruckendes Stück, welches die Zerrissenheit und Aufruhr der Künstlerin darstellt. Als jemand, der niemals seine Heimat in Frage stellen musste oder dieser entrissen wurde, erhascht der Zuschauer einen Einblick darauf, was eine Entwurzelung in einem Menschen auslösen kann.“ 

Mucbook, June 2015 - For Heimat...los! 

"(...) Ceren Oran knows to get the attention of the children with her natural, catching cheerfulness. A gorgeous, amazing performance with a lot of dance and music(...)" 

Dorfzeitung, March 2014 - For Kugelhupf

“(… )Ihre Erzählung basiert auf einer poetischen Transkription der Schwierigkeiten, der sich Fremde in einem neuen Land ausgesetzt sehen. Mit einem kleinen Köfferchen ausgestattet – und von einer perfekten Lichtinszenierung begleitet – kämpft sie um einen Platz in der Gesellschaft, der ihr jedoch nur auf deren unteren Rängen zugestanden wird. Witzig und berührend zugleich veranschaulicht sie mit Hülsenfrüchten nicht nur die Anzahl der MigrantInnen in Österreich zwischen 2002 und 2012, sondern verdeutlicht, wie sehr diese auch zum Spielball von Gesellschaft und Politik werden können. Eine beeindruckende und berührende Session, die es verdient, vor einem großen Publikum gezeigt zu werden.“

European Cultural News, June 2013 For Youmeyouhemeshe... 

"Vier Damen im Café. Dass sie überhaupt miteinander ins Gespräch gekommen sind, verdanken sie der jungen Türkin – einer Touristin, einer Studentin vielleicht - die Sprachbarrieren überwindet, indem sie sie einfach nicht zur Kenntnis nimmt und drauflos quasselt: eine hinreißende Performance von Ceren Oran, die vom ersten Auftritt an für sich und die gesamte Produktion einnimmt.„Fünf Frauen, ein Klavier“ ist eine charmante humorvolle Theaterarbeit von Myrto Dimitriadou, die im richtigen Tempo daherkommt und en passent – im Vorüberstoplern quasi – die seltsamsten Abgründe sich auftun lässt. (...)"

DrehpunktKultur, November 2013 - For 5 Frauen und ein Klavier

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