House of Hundred in Turkish Press

“Yesim Ozsoy intertwiningly discourses past and present in the play where she approaches and fictionalises the stories she has heard from her grandmother. She not only appears as the writer, but also the storyteller. The plainness and warmth in her narration can also be seen in Ozsoy’s acting.” (Dikmen Gurun, Cumhuriyet Newspaper) 

 “Yesim Ozsoy replaces the mansion as a storyteller and the memory of the mansion is reawakened through the voices of various furniture the paths of which have passed through the mansion. This transposition between the inanimate existence of things and the presence of the actress on stage fundamentally a transposition conducted for the material of theatre and in this sense, House of Hundred offers its audience a pleasant experience to view.” (Melike Saba Akım, artunlimited)

 “While our newspapers and televisions keep on talking about Alice musical, Yesim Ozsoy continues to execute her silent revolution somewhere, inverting our general acceptances.” (Caner Kiliç, House of Hundred: A Silent Revolution)

 “Directing and taking on the play solitarily, Yesim Ozsoy has subtly embroidered the evolutions experienced by the things through a spectacular realisation accompanied by the universal language of music. Transitions, narration of time, periodical changes, desperate struggles of people… all have been narrated elaborately throughout the play. It is impossible to overlook Yesim Ozsoy’s acting talent along with her success as a director. The atmosphere created by the actress on stage via emotional transitions is mesmerising.” (Yasam Kaya,

 “Music design and performance that will continue to haunt you long after you watch the piece and which are in perfect harmony with the play are by Kivanc Sarikus whereas the documentary film and videos arranged most compatibly with the poetry of narration are by Melisa Onel. House of Hundred is principally the product of a well-established dramaturgical work, jointly telling the story of both the mansion, those who have lived in the mansion and things and furniture who have witnessed such courses of existence.” (Tiyatro Dergisi, Gonca Katman) 

 “Come and take a break from plays with introduction-body-conclusion plots and time-space collaboration and take a century-long journey with things. Come and visit House of Hundred which reminds you of the stories told by your own elders, uniting us with the real elements of a mansion backed by the transformation of society. You will be greatly satisfied with its land lordship. Enjoy the show…” (Eda Geven,

 “‘Demolition’ or ‘act of demolishing’ in particular is a fact that we inevitably encounter with throughout the history of modernised Turkey and therefore closely related with memory. The bulldozer that appears at the end of the play in representation of the demolishing of the mansion briefly reveals a significant recall with respect to Turkey’s late history.” (Ozan Omer Akgul, unlimitedrag)

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Ongoing Plays