DEN STYGGE ANDUNGEN PDF

November Subversive Social Commentary Tragicomical musical theatre offers a poignant travesty of our time and age. Have you ever seen the ensemble of Theatre of Cruelty before? This is one of the best productions from Grusomhetens Teater in many years, and it hits you like a shot in the heart. It feels like being taken back into the past, to a basement stage of the post-war years where tragicomical musical theatre is played, surrounded by an alchemist universe. Archaic and modern realities meet and woven together in a fascinating way, something that gives the performance a remarkably modern feel. Inspired by the writings of H.

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November Subversive Social Commentary Tragicomical musical theatre offers a poignant travesty of our time and age. Have you ever seen the ensemble of Theatre of Cruelty before? This is one of the best productions from Grusomhetens Teater in many years, and it hits you like a shot in the heart.

It feels like being taken back into the past, to a basement stage of the post-war years where tragicomical musical theatre is played, surrounded by an alchemist universe. Archaic and modern realities meet and woven together in a fascinating way, something that gives the performance a remarkably modern feel. Inspired by the writings of H. The adding of historical perspectives only strengthens the staged commentaries on class difference and the terrifying insanity of war.

The show has many layers, and a great deal of symbolism has evaded this reviewer. Oppression and harassment constitute a fundamental theme here. From the ducklings who bully the little swan, to the ways in which bourgeoisie oppresses members of other classes as well as itself, to examples of nation-state breaking the individual down.

All along, a universal message pulses through: one human being must respect another. The performance assumes the shape of musical theatre. Apparently disconnected scenes are woven together by music — from evocative classical pieces to hard-core political songs. Scenes vary in character, from commentaries on a meta-level to inner images of human emotional experience, as are provoked in various situations depicted. Actors do a marvelous job. They enact ducklings, bourgeoisie, the emperor and his court with and without new clothes, bird hunters and relief workers in war scenarios — all of that with a consistently impressive precision, rhythm and empathy.

Duck is a bird I only have eaten once in my entire life. Upon touchdown in Brasil, I was doubled up over the plane toilet with deadly migrene, throwing up whisky, bordeaux and duck. Such as The Ugly Duckling. One is tempted to throw a reference to the celebrated director Robert Wilson, who, it is claimed, creates unparallelled stage images by accentuating the material or plastic qualities of light, sound and words. In other words, we are dealing with choreography and musical composition, rather than directing and acting style that psychologises.

The Ugly Duckling is a sort of cabaret where the red-haired pianist might burst into unbridled arias and climb the ladders on stage, yet the atmosphere remains nevertheless fragile and dreamlike throughout. Performers fold slowly into the space, flesh in flesh.

Bodies penetrate the void. Bodies disappear from the stage. And out of this movement, an intense presence arises: a temperate ecstasy that gradually spreads into the audience itself. To descend into this basement is similar to discovering a subterrenean community in a forgotten bomb-shelter, a time capsule where humans keep mumbling about God and Gunvor Hofmo [a Norwegian poet, transl. Mmmmmmmm Gunvor Hofmo. Could this be the Purgatory itself?

Arbeit macht frei. At the same time, it is exactly in this wondrous poetry and vulnerability that we find the connection to H. The wisdom of nations rests upon this fact. It was with the doctors, not the patients, that society began.

I hold on to this: Fresh filtered coffee in paper cups shall ever taste better than bordeaux and preserved gourmet duck! The performance style is, in other words, quite different from what the audience is exposed to under the golden arch of The National Theatre and its neighbouring arenas. The spectator is to be seized and arrested with an exorcist expression.

The ugly tale based on H. A n d e r s e n him s e lf participates together with several of his fairytale characters, including an increasingly disrobed emperor. It is a Muppet-show from hell and QuaqQuao on c r a c k i n a grotesque distortion of a sick society.

Repetitive processions that symbolise the oppressive bourgoisie, while at the same time exposing the less generous traits of humans as flock-animals, put into question the idea of the collective as something good.

Thus the performance works not only as universal social criticism, but also as a specific denunciation of a graceful little land that seems to have forgotten everything that H. Good, after all, that we Norwegians are tolerant and able to perceive and understand such things.

The result is a mysterious and alternative performance that lets ideas and associations gush forth, performed by dedicated actors with a precise body language and a rich palette of expressions. Romantic play The first part of the show plays with our idea of the Scandinavian romanticism, with lace parasols and delicate trills on the piano.

Tederness and fragility shines persistently through, in carnevalesque processions led by an emperor in newer and newer clothes, and the humorously over-articulated scene where actors wearing duck-costumes keep pushing the swan-child away from their circle. But not all junctions are noise-free. Certain episodes are overdrawn, and towards the end one could wish for a disruption or a turning point that could have prepared for a more definitive closing scene than the one that has been chosen.

But when it comes to the finale, H. Andersen remains the master. But it is also a parable of being deserted, rejected and isolated. The result is an engaging performance for a grown-up audience. The fairy tale of his life H. All of these experiences contributed to his creative urge, and made him into an artist who spoke in defense of the weakest and wanted to give them new hope. Andersen wrote not only for the youngest.

Many of his tales are filled with strong and painful emotions. The tale of the little duckling tells as much about thuman life as the life in the duck-pond. Andersen has dreamed up a lonely figure, a mob victim that was banished from the society that thought him different and ugly.

The theatre inspired by Antonin Artaud attacks the text in its singular fashion. Theatre theorist Artaud compared the theatre to plague: One must be prepared to suffer. The word is equal to movement. The little basement stage in Hausmanns gate 34 in Oslo is an unadorned black space soon to be peopled with masks, music, movement, light and words.

Demanding As in a visual composition, one scene grows out of another. Nine actors, including one cabaret singer, explore the space and the text at the base of the performance with the help of a physical language, ritualistic processions and music. The remarkable processions, where actors advance across the stagefloor in slow motion, has become characteristic of Grusomhetens Teater.

This time there are royal processions and the bourgeois masquerade. Costumes and masks are exaggerated and overwhelming. The bullying scene where five giant ducks unite against the single black swan-child, makes a strong impression. The dark duckling challenges his surroundings just by being himself. There are extended scenes here with war and disaster, sequences with cries and screams, hidden in smoke. The stark acting style is demanding, balancing finely on the verge of parody.

But a disciplined ensemble creates a singular piece about conformity that ends in misanthropy. The review is based on the dress rehearsal.

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