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One of the great assets of Fulya Peker’s elegant, forceful and stunning work is that it utterly rejects the curdled irony, cloying self-awareness and naïve cynicism so often found in contemporary New York performance… Peker is after a more serious art and is not afraid to flaunt artistic determination that in its dignity and fierce ardor, will cause envy and resentment in the cynical… 


Nicholas Birns, Hyperion: On the Future of Aesthetics

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Peker clearly works within the lineage of Artaud and Bene (not to say Dada), those mad sleepless fiends.... Peker’s stagecraft is no less decisive than Beckett’s. She is not rigid; she is rigorous.


Rainer J. Hanshe , Hyperion: on the Future of Aesthetics

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Peker demonstrates a sharp talent for approaching difficult abstract conceptions and a certain courage in attending to their aesthetic demands... Fulya Peker's play is the event of the spring.


George Hunka, Superfluities

To say that Fulya Peker is an active theatrical artist is a gross understatement. . .the Turkish-born writer, actor and director is busy learning from the experimental scene’s leading figures while sharing and refining her own unique theatrical vision. 


David Kilpatrick, The Brooklyn Rail

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Fulya Peker's butoh background informs the simmering menace she channels throughout the show.


Delarue, New York Music Daily

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Peker, with a unique theatrical perspective that embraces Eastern and Western practices, makes Requiem Aeternam Deo into a ritualistic mass, Nietzsche surely may have found admirable.


Rainer J. Hanshe,  Nietzsche Circle

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In describing Peker’s directing style with her 2007 piece, Requiem Aeternam Deo, I used the term “ritual expressionism.” The Void is a fascinating forty-minute one-act that rejects the cynical post-postmodernism that dominates Off-Off-Broadway.... dare the audience to share in their exploration of theatre’s impossible promise.


David Kilpatrick, Hyperion:On The Future of Aethetics

In her daring, Fulya Peker seems to have done what others were unable to...

We have not seen this kind of work in decades.


Mark Daniel Cohen, Hyperion: On the Future of Aesthetics

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Peker in particular, calls back to the Ontological’s style of mystic obscurantism… I remember a few things with fondness— Peker’s avid delight while digging in a box of dirt...


Helen Shaw, TimeOutNY

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The eccentric stage presence of Foreman's New York players… such as the striking Fulya Peker...


James Hannaham, Village Voice

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Fulya Peker is mesmerizing, whether standing still or performing any range of odd behaviors that Foreman has assigned to her.


Dan Bacalzo, Theatermania

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