Fulya Peker
“(0/0)^0=(c0llectedw0rds)!”

“(0/0)^0=(c0llectedw0rds)!” is a comprehensive collection of stage and performance texts by experimental theater artist Fulya Peker. Spanning two decades of her artistic and literary experiments from 2004 to 2024, this bilingual volume features not only her original texts and adaptations, but also critical reviews of her performances and directorial ventures. Additionally, the book includes a detailed foreword penned by Peker, where she articulates her artistic vision and linguistic endeavors, as well as sources of inspiration—from the abstract and philosophical to the tangible and physiological—while elaborating on the metaphorical and interdisciplinary approaches and performance techniques she has cultivated throughout her experiences on stage, in academia, underground, and beyond.

“(0/0)^0=(c0llectedw0rds)!” is a testament to Peker's impact on experimental theater and her contributions to the performing arts and literature.

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all these “things” I pan/pun/pen about:

the zero, the void, the abyss; the grand question of “is nothing is?”; (the infinite parenthesis; (the electromagnetic fields; (the shock of the unintelligible; (the consciousness of chaos; (the infinitesimals of language; (the anterior cingulate cortex; (the body without organs; (the moments within moments)))))))); the incommensurable, the hypotenuse, the tangents; the eternal returns and the vicious circles; the semantic gaps and the negative spaces; the memory, the paradox, the hippocampus; apollo and dionysos; the myths and the rituals; the ecstasy and the cruelty; the unknown and the unconscious; the sublime and the stillness; the taboos and the transgressions; the subtractions and the abstractions; the affirmations and the negations; the “neither”s and the “nor”s; the “either”s and the “or”s; the “de-”s and the “re-”s; the “ah!”s and the “ha!”s; the texts, the textures, the lectures; the mimesis and the metis; the poiesis and the praxis; the katharsis and the apoptosis; the pleasure and the pain; the lost and the found; the past and the future; the “end”s and the “and”s; and the “the” in-its-selves; the transformation, the translation, the transition; the prediction, the precision, the decision; the commitment, the correlation, the concentration; the typography, the topography, the sonography; the indeterminate, the indefinite, the infinite; the blackboxes, the blackouts, the blackholes; the metaphors, the metaphors, the metaphors; the nerves and the veins; the windows and the caves, the maze and the gaze; the rhythm, the pitch, the pace; the eyes, the hands, the tongues; the will, the brain, the lungs; the branches, the threads, the rocks; the ashes, the trashes, the thresholds… all these conceptual mappings and cognitive wirings are parts of my rather short-circuited machine, my migraine-ridden consciousness; that constantly expands and contracts on stage, for years… for everyone and nobody.