Revolusjonære Budskap – 2013Revolutionary Messages – 2013
Urpremiere 8. mars 2013
[eight_columns] Konsept og regi: Lars Øyno Skuespillere: Maria Halseth – Liv Pflug – Maja Clementsen – Josephine Kylén Collins – Jon Arne Arnseth – Jessica Berg – Tom-Stian Lenningsvik – Johannes Blåsternes – Sara Fellman – Lars August Jørgensen Scenografi: Tormod Lindgren Lys: Jan Skomakerstuen Regiassistent: Janne Hoem Musiker/komponist: Lars Tore Pedersen Koponist: Øystein Elle Produsent: Nina Ziegemann [/eight_columns] [eight_columns] “I det mexicanske, storslåtte landskapet fant han en revolusjon av klipper og sten, skapt til å uttrykke det mennesket, som var født i regionen.” Antonin Artaud [/eight_columns]
Fra pressemeldingen Grusomhetens Teater bringer revolt inn i tradisjonsrike rammer når forestillingen Revolusjonære budskap settes opp i Gamle rådhus. Den første offentlige teaterforestillingen man kjenner til i Oslo ble vist her – framført av en gruppe omreisende gjøglere fra Nederland i 1667. Revolusjonære budskap baserer seg på den franske teatermannen Antonin Artauds tre forelesninger fra universitet i Mexico i 1936, og hans siste blyantskrevne nedtegnelser. Med ti nyutdannede skuespillere og en dramatisk hymne komponert av Øystein Elle, framført av blant andre Lars Tore Pedersen (When), tar regissør Lars Øyno sikte på å billedliggjøre innholdet i disse tekstene. – Artaud lengtet etter en dyptgående forandring av mennesket, en fysisk og metafysisk revolusjon basert på krefter som den europeiske åndsform har trukket vekk og inn i glemselen. Han mente det var de unge som kunne forstå ham og bringe denne revolusjonen ut i live. Derfor var det svært viktig for meg å velge et nytt, ungt lag til denne forestillingen, sier Lars Øyno. Revolusjonære budskap rekker samtidig en hånd til Edvard Munchs “Skrik” i jubileumsåret. – Skriket var viktig for Artauds kunstneriske uttrykk. Som hos Munch er det et eksistensielt skrik vi betrakter i vår forestilling. Når alt er oppløst, kan noe nytt stige fram, sier Øyno. [nggallery id=26]
Premiere 8. mars 2013
[eight_columns] Director: Lars Øyno With: Maria Halseth – Liv Pflug – Maja Clementsen – Josephine Kylén Collins – Jon Arne Arnseth – Jessica Berg Tom-Stian Lenningsvik – Johannes Blåsternes Sara Fellman – Lars August Jørgensen Composer and vocal instructor: Øystein Elle Composer and musician: Lars Tore Pedersen Stage manager: Janne Hoem Set design: Tormod Lindgren Light design: Jan Skomakerstuen Masks: Trude Sneve Costume design: Thale Kvam Olsen and Tormod Lindgren Producer: Nina Ziegemann Scenography assistance, photo: Thor Eriksen Technician: Thomas Sanne Workshop: Hanne Dieserud [/eight_columns] [eight_columns] “In the Mexican, magnificent scenery he found a revolution of rocks and stones, created to express the man, who was born in the region.” [/eight_columns]
[nggallery id=26] From the manuscript The woman constantly moves her fingers as the scene slides into silence. Her eyes shift in various directions, are suddenly focused, and then slide from one side to another. For a moment they are out of sight, hidden under her eyelids. Her feet stamp silently on the floor. Her jewelries make a rustling sound. After a certain amount of time with repeatedly controlled body movements the woman falls into trance. The song which has been underlying becomes monotonous and intense. Froth comes out of the corners of her mouth. It is a frightening character, in contact with nature and spirit. From nothing she went into the forms, as to return to emptiness and into the death. To be cultivated is to burn the form and by this feel the life. And precisely through this we show that the life will rise again from the metaphysics. The type of physiological revolt presented during the last minutes heralds the possibility of change. This is a difficult state, which – as we have seen – makes several people insane. The described tableau has created a radically authentic individual, totally alienated and without human references – like a Christ. “Revolutionary Messages” refers to the three lectures Antonin Artaud gave at the University of Mexico City on the 26th, 27th and 29th of February 1936, and which were later published with the same title. The performance is inspired by these texts in addition to Artaud’s last writings – collected in 408 scetch books. “The theatre is degenerated so from where will the rescue come?” the poet Rudolf Nilsen wrote in a letter from Copenhagen 11th of March 1927 after visiting The Workers’ Theatre. The previous year he had reported from Soviet about the miracle man Meyerhold: “It was first of all the revolution which gave Meyerhold the chance to show what he was able to, and the State of the Labours gave him further possibilities. All of Meyerhold is new, and is still new each time he produces a new play. He is never done, and continually working to find new methods, his theatre is a laboratory. Meyerhold has understood the way of reaching into the heart of the Russian worker of today. Due to this he is a hero of the people and his productions are always played for overcrowded halls.” Revolution and Theatre The surrealists booed at Artaud’s theatre experiments in Paris at the end of the 1920s, even though he belonged to the group and conducted their research bureau. But according to the surrealists the theatre was declared to be bourgeois, completely devoid of rebelliousness and ability of renewal. Artaud later resigned from the group – not because he felt hurt at the critique or had stopped being a surrealist, but because the group in its eager to approve of every revolutionary idea gave its support to Stalin. The surrealist leader André Breton become later a trotskyist and visited the exile Russian in Coyoacan in Mexico few years after Artaud announced for Mexico City’s artists and intellectuals that the young generation in Europe thirsted for change. The poet Arthur Rimbaud looked forward to a universal revolution through which the human being itself would be transformed, and hoped that the woman could guide forward to this aim. The revolution of Christ succeeded because he put forward his message through a strong poetic imagery, and through an involuntary effect by his own physiological ruin. Trapped in the Churo Ravine near the village Higueras in the South Eastern part of Bolivia Che Guevara realized in 1967 the hopelessness in his revolutionary project through which he would save the South American states from the imperialism. Among the surrealists in Paris the one who had lost all hope was concerned as the truest follower.