ABD Post: Hello Ms. May, we were supposed to meet today to talk about your first book. However, I see that there are three different versions of the same book. I would like to begin our conversation by asking why your book has three different versions.

Ms. May: If you’d like, I can first talk a little about myself.

ABD Post: Of course, please go ahead.

Ms. May: I graduated from the Department of Theater, specializing in playwriting. Just as people become doctors or engineers and earn a professional title, it’s the same for me.

ABD Post: I don’t think I’ve ever met someone who graduated in playwriting before.

Ms. May: Yes, in the past people used to say there is no school for writing — that inspiration alone makes a writer. But writing is a disciplined craft, almost mathematical in its structure. Just like anything else, theater and writing can be formally studied.

ABD Post: You’re right. Now let’s return to our first question. Why are there three versions of the same book?

Ms. May: First of all, I am Turkish, but I live in America. I am targeting American readers as my audience. The book I wrote is a children’s theater play. We have three different versions for three different types of readers.

ABD Post: I would like to clarify something. Is your play titled The Lost City of Atlantis – Tell Me a Tale?

Ms. May: Yes.

ABD Post: We’re listening.

Ms. May: I don’t know if you have ever read a theater script. For example, Shakespeare’s Hamlet.

ABD Post: I have.

Ms. May: That’s not our main point. The point is that theater scripts are not illustrated. But we created an illustrated book.

ABD Post: Why?

Ms. May: Because American readers tend not to show much interest in children’s books if there are no illustrations.

ABD Post: So if you don’t support the content with visuals, you can’t sell it?

Ms. May: We can sell it, but we would sell fewer copies. We want to reach a wide audience. That’s why we also added a section at the end of the book called “Brain-Teasing Questions.” Our goal is to encourage children to research the topic and to help the play stay in their hearts.

ABD Post: That’s a very valid perspective. What is the second version for?

Ms. May: As I mentioned, I am formally trained in this field. The second book is like a tribute to my profession. It is presented as a proper theater script. It includes character sketches, cast and creative team credits, and more. We prepared this version mainly for professionals or for those who want to stage the play.

ABD Post: For example, school theater groups?

Ms. May: Exactly.

ABD Post: The first book is for children, the second for professionals. What about the third?

Ms. May: The third book is a coloring and activity book that visually presents all the characters and the world of Atlantis. With this book, we are targeting younger readers.

ABD Post: What age group are your books aimed at?

Ms. May: Sales platforms require us to specify an age range. However, it is more accurate to say ages 7 to 77. Anyone aged seven and above can be our reader. The coloring and activity book is for ages three and above. We designed it for younger siblings who cannot yet read. One child reads the book while the other colors it.

ABD Post: Can you tell our readers about the content? Why does the play take place in Atlantis?

Ms. May: Actually, the answer is interesting. Have you ever thought about how many different themes exist in storytelling?

ABD Post: I haven’t really thought about it. Maybe 150 or 200.

Ms. May: Unfortunately, that’s not correct. There are only 36 fundamental dramatic situations in the world. You have probably watched films based on at most 36 different themes.

ABD Post: Really? That’s incredible. What does that have to do with your book being set in Atlantis?

Ms. May: I chose one of those 36 themes when I was writing. I moved the setting to a fantastical atmosphere simply to make it more interesting.

ABD Post: When you explain it like that, all the films I’ve watched seem very simple.

Ms. May: You’re right. But in our profession, making something simple is actually the most difficult part. For example, when you watch an actor and think, “I could do that,” that actor is a natural performer. I would say, go ahead and try if you can.

ABD Post: That’s quite ambitious. Does this also apply to playwriting?

Ms. May: Of course. We are talking about an art form that has existed for 2,500 years. If it were easy, everyone would be a playwright. Anyone can be a writer.

ABD Post: That already happens.

Ms. May: But not everyone can be a playwright. For example, the play takes place in two different locations — Earth and Atlantis. We use a simultaneous staging technique. Alongside the main storyline, there is also a secondary storyline. And most importantly, some of the characters are puppets.

ABD Post: Really? Like The Muppet Show or Sesame Street?

Ms. May: Yes, there are hand puppets as well. But for professional productions, I used different puppetry techniques. However, school theaters or readers can purchase Halloween costumes available in stores for all our characters. In this way, children can become human puppets and transform into the heroes of the play.

ABD Post: Do you sell the costumes?

Ms. May: No, costume sales are not related to us. We currently have our own publishing house, Mimesis Publishing, which publishes only our books. The reason all these costumes exist is simply the strong consumer market in the United States.

ABD Post: Yes, you can find almost anything here. I’m looking at your characters now — Mermaid, Octopus, Crab, Sea King. Their costumes are widely available. What is the main storyline?

Ms. May: Hopefully one day this series will become an animated film. The story is about two children — one living on Earth and the other in Atlantis — who meet in a fairy tale, and the adventure begins.

ABD Post: So this is a children’s play series?

Ms. May: Yes, it is a 13-book series. The book you are looking at, The Lost City of Atlantis – Tell Me a Tale, is the first book. The French edition will be available in French-speaking countries after January 2024. We plan to publish the second book in December 2023.

ABD Post: That’s wonderful news.

Ms. May: Yes, my team and I are very excited. The second book will target the same age group. Starting from the third book, we will gradually increase the age level toward teenagers.

ABD Post: If I remember correctly, you mentioned ages seven and above.

Ms. May: Yes, that’s correct. But the themes evolve. Expectations from the book increase, and a readership begins to form. If you remain static, you ignore the fact that readers grow older. Our starting level is age seven, but it will expand with each book.

ABD Post: That’s a very nice idea.

Ms. May: Yes, that is exactly what we aim to do.

ABD Post: You mentioned writing for American readers. Is the series centered on American life?

Ms. May: Not exactly. Our themes are universal. Any child, anywhere in the world, can read this book and feel the same emotions. Lives may differ, but emotions are universal.

ABD Post: As they say, “The color of tears is the same everywhere.”

Ms. May: Yes, that’s true.

ABD Post: Finally, is there anything you would like to add for our readers? Perhaps your website?

Ms. May: Yes, that would be wonderful. On our website, readers can find purchase links that direct them to sales channels. Our website is www.melismay.com
.

ABD Post: One last question — is the book currently available only on Amazon?

Ms. May: No. It is available in Kindle and paperback formats on Amazon, and in paperback at Barnes & Noble. Very soon, it will also be available on other platforms, as our team is working worldwide to bring our books to readers.

ABD Post: Ms. May, this has been a lovely conversation. I wish you many readers and look forward to meeting you again with your new book.

Ms. May: Thank you very much. It was a pleasure for me as well. I wish you success in your work.

CLICK HERE to the logo the original page on ABDPost.com

YENI ASIR NEWSLETTER

Bulent Gurluk

"Devlet Tiyatrosu, 'kukla oyunu' da sahnelemeli"

bulent.gurluk@yeniasir.com.tr

Giriş Tarihi: 02 Eylül 2009

"Yaşatmalıydık denizkızlarını. Düşlerimizin en güzel süsü olarak kalmalıydılar. Oysa yok ettik onları. Hatırlamayarak artık, isimlerini anmayarak ve en önemlisi bir gün Ege'nin maviliklerinden çıkıp geleceklerine olan inancımızı yitirerek yok ettik onları. Artık eskisi kadar zengin değil düşlerimiz. Yeni masallar bulduk elbette ama hiçbiri bir denizkızı kadar güzel, bir denizkızı kadar düş dolu değil. Keşke yaşatsaydık denizkızlarını.
Kuklalar da denizkızları gibidir. Ancak inanırsak gerçek olduklarına, anarsak isimlerini ve sevgiyle bağlanırsak onlara var olabilirler. Yaşamın kendisi kadar gerçektir kuklalar ve bir o kadar hayal. İhtiyacımız var kuklalara; yaşamı zenginleştirmek için ihtiyacımız var, düşlerimizi süslemek için ihtiyacımız var, çocuklarımız sevgiyle, barışla büyüsünler diye ihtiyacımız var. Bu yüzden yaşatıyoruz kuklaları İzmir'de..."

DİNÇER BAŞARDI
Bu metin, üç yıldır kentimizde düzenlenen İzmir Uluslararası Kukla Festivali'nin manifestosundan bir alıntı. Festivalin direktörü Selçuk Dinçer'in kaleminden... Dinçer, festivalin internet sitesinde yer alan bu yazıda da belirttigi gibi, kuklaların hayatımızın bir parçası olduğu inancını tüm kente yaymaya çalışıyor yıllardır. En büyük amacı, hayal ve gerçek dünyamızın yaşayan bu süslü varlıklarına özellikle çocuklarımızın dört elle sarılmasını sağlamak. Ve İzmir'i, miniklerimizin sevgi ve barış duygularıyla büyümesi için ihtiyaç duyacakları bu ahşap aktörlerin kenti haline getirmek...
Selçuk Dinçer bunu başardı da... Hem etkinliklerin geleneksel hale gelmesinden hem de her yıl katılımcıların daha büyük bir ilgi göstermesinden anlayabiliyoruz bunu. Ama bence İzmir'in bu konuda isim yapmasında İzmir Devlet Tiyatrosu'nun da katkısını esirgememesi gerekiyor. Hazır 'kuklanın yaşadığı kent' olma yolunda sağlam temeller atılmışken, Devlet Tiyatromuz da geleneksel oyun kültürümüze sahip çıkarak kukla tiyatrosuna mutlaka yer vermelidir artık.
Geçtiğimiz festivalin destekçileri Büyükşehir, Konak ve Karşıyaka belediyeleri ile Dokuz Eylül Üniversitesi Güzel Sanatlar Fakültesi'ydi. Bu yıl festivale İzmir Devlet Tiyatrosu da ağırlığını koysa fena mı olur? Dinçer'in dediği gibi 'yaşamı zenginleştirmek, düşlerimizi süslemek ve çocuklarımız için bir sevgi dünyası kurmak' için ihtiyaç duyduğumuz 'kukla kültürü'nü Devlet Tiyatrosu'nu dışarıda bırakarak yaşatmak büyük bir eksiklik değil midir?

MUTLAKA KATILSIN
İzmir DT yeni oyun sezonuna hazırlanırken, festivale bir 'kukla oyunu' ile katılmayı da planlarına eklemelidir. Her yıl kukla gösterileri için yabancı ülkelerden gruplar geliyor kentimize. Geçen yıl Türkiye adına festivale katılanlar arasında Diyarbakır Devlet Tiyatrosu da vardı. Onlar çıkıp Diyarbakır'dan gelirken, İzmir DT'nin festivalin düzenleyicileri arasında bile yer almayışı kabul edilebilir mi?
Kaldı ki 2007-2008 sezonunda, sevgili arkadaşım Melis May'ın 'Kayıp Şehir Atlantis' adlı kukla oyunu İzmir DT'nin repertuvarına alınmıştı. Sonradan ne olduysa başka bir çocuk oyununun sahnelenmesine karar verilerek devre dışı bırakıldı. Yani elde hazır bir kukla oyunu da var ve orada sahneleyecek adam bekliyor. Üstelik İzmir'in bu konudaki en büyük şansı DEÜ Güzel Sanatlar Fakültesi'dir. Buradaki Tiyatro Ana Sanat Dalı'na bağlı Sahne Tasarım Bölümü'nde, 'Kukla Yapım Teknikleri' dersi de veriliyor.
Gayet iyi biliyorum. Bu ülkenin en yetenekli tasarımcılarını yetiştirmiştir o bölüm. Bunlardan biri de İzmir Devlet Opera ve Balesi'nin dekoratörü Tayfun Çebi'dir örneğin. İzmir'de akademisyeninden sanatçı ve teknik elemanına kadar en yaratıcı işleri, hatta ilkleri yaratacak bir kadro yelpazesi mevcut. Yeter ki çığır açacak kararlar almakta cesur davranalım.

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