Grusomhetens Teater | Teateret & vitenskapen – 2007Theatre & Science – 2007
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Teateret & vitenskapen – 2007Theatre & Science – 2007

  |   Produksjon

«Teateret er tilstanden, stedet, punktet der man kan gripe den menneskelige anatomi, og med den helbrede og styre livet.»
 Antonin Artaud

 

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Skuespillere: Hanne Dieserud, Odille Heftye Blehr, Camilla Vislie, Fernanda Branco, Nelly Winterhalder, Nina Sponnich, Maria D. Ramvi, Anette Pettersen, Johanna Mørck, Cathrine Røisli Tyssen, Kjærsti Odden Skjeldal
Manus og regi: Lars Øyno
Musikk: WHEN – Lars Pedersen

Scenografi/kostymedesign: Ole Jacob Børretzen, Gjøril Bjercke Sæther, Thor Eriksen, Lars Øyno
Lys: Ingrid Tønder
Lystekniker: Jan Skomakerstuen
Regiassistent/inspisient: Mathilde Hartviksen Dale og Gjøril Bjercke Sæther
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I dette stykket utforsket et skuespillerensemble bestående av elleve kvinner sammen med regissør Lars Øyno den franske poet og teatermann Antonin Artauds to tekster ”Deranging the Actor” og ”Theatre & Science”.

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Concept and direction: Lars Øyno
With: Hanne Dieserud, Odille Heftye Blehr, Camilla Vislie, Fernanda Branco, Nelly Winterhalder, Nina Sponnich, Maria D. Ramvi, Anette Pettersen, Johanna Mørck, Cathrine Røisli Tyssen, Kjærsti Odden Skjeldal
Scenography/costumes: Ole Jacob Børretzen, Gjøril Bjercke Sæther, Thor Eriksen, Lars Øyno
Light: Ingrid Tønder
Composer: Lars Pedersen/WHEN
Light technician: Jan Skomakerstuen
Stage managers: Mathilde Hartviksen Dale and Gjøril Bjercke Sæther

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[eight_columns]Through this performance, director Lars Øyno and the eleven actresses investigate two texts by the French poet and theatre legend Antonin Artaud, ”Deranging the Actor” and ”Theatre & Science”. The piece aims to bring about a necessary transformation of the actor, the human body and of the world. The patriarchal hierarchy of the world suppresses the creative force of life, controls the fertility and the visions of women, and distracts human thought through the endless attention given to trivial details, but here patriarchy is put on trial and will receive its judgment. Since the stage is only occupied by women, and they were involved in all aspects of the creative process, women’s perspectives of the world are expressed. The aim of the performance is to rediscover ideas, experiences, and thoughts that are lost in the current scramble for material wealth. The eleven actresses seize their bodies, souls and voices, emitting a scream which can point out the direction for a total physiological revolution, without which nothing can be changed.

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