Posts Tagged ‘Performance’

Imploding Fictions attempts Crimp in Oslo

Sunday, February 21st, 2010

Oslo International Theatre presents the Norwegian premiere of

Attempts on Her Life

by Martin Crimp

a rehearsed reading at Vardeteatret in Oslo

Translated by: Katharina Gellein Viken

Directed by: Øystein Ulsberg Brager

With: Katharina Gellein Viken, Christoffer Hag Maure, Robert Rustad Amundsen og Torgny G. Aanderaa

Produced by: Michael H. Sciarrone

Thursday 11th March at 7pm at Vardeteatret, Rådhusgt. 19 in Oslo, Norway

Tickets can be reservered via oslointernasjonaleteater@gmail.com

Attempts on Her Life is a modern masterpiece by British dramatist Martin Crimp.

When it burst onto stage in 1997 at London’s Royal Court theatre it created both immense excitement and considerable bafflement. It’s the work of a freewheeling imagination in which seventeen scenarios collide to create the portrait of a highly ambiguous character called ‘Anne’. With each scenario we are presented with a different facet of her enigma. Is she a porn star, an international terrorist, a victim of aliens, a physicist or indeed a make of car? Martin Crimp presents us with all these options in this virtuosic tour de force of a play which is by turns funny, shocking, entertaining and sad. More than a decade after its’ premiere Attempts on Her Life has become an established modern classic and a major influence on young writers the world over. OIT is proud to present the first reading of this extraordinary piece in Norway in a brand new translation by Katharina Gellein Viken.

Welcome to Attempts on Her Life!

Philip Thorne

Joint artistic director of Imploding Fictions and dramaturg for Oslo International Teater

About Crimp and Attempts on Her Life:

The most radically interrogative play in western mainstream theatre since Beckett.

Mary Luckhurst

The piece has a kaleidoscopic vigour … It is driven by a radical contempt for the new global capitalism and its attempt to turn us all into peripatetic, depersonalised consumers … He may have dispensed with plot and characters,  but he has proved that the act of theatre can still survive if it is propelled by moral fervour.

Michael Billington, Guardian

This is what the brave new theatre of the 21st Century will look like – both on stage and on the page.

Nicholas de Jongh

[Crimp] has an extraordinary fastidiousness about language … He displays the formal bravura of one who delights in his craft.

Independent on Sunday (om Crimps The Country)

Martin Crimp is one of the hottest properties in Europe.

Guardian

For more information on OIT see:

http://oslointernasjonaleteater.wordpress.com

Oslo International Theatre is a project run by Imploding Fictions:

www.implodingfictions.com

Attempts on her Life by Martin Crimp was first presented by the English Stage Company at the Royal Court Theatre.

Publisher: Nordiska ApS

Photo from OITs reading of Seven Other Children by Richard Stirling. From the left: Sveinung Oppegaard and Torgny G. Aanderaa. Copyright: Michael H. Sciarrone

- Oystein

INVITASJON and INVITATION

Monday, October 26th, 2009

Hannah, Sammy and the two Hamletmachine robots

Hannah, Sammy and the two Hamletmachine robots, photo: Tamás Kiraly

We come straight from another two successful Hamletmachine performances at the lovely Théâtre la Vignette in Montpellier, to a completely new departure in Oslo: We are starting Oslo International Theatre (OIT), our first big project in Norway. Below you find an invitation (both in Norwegian and English) to our very first rehearsed reading. We hope to see you there!

INVITASJON

Oslo Internasjonale Teater inviterer til iscenesatt lesning av

Sju Jødiske Barn av Caryl Churchill og Sju Andre Barn av Richard Stirling

med påfølgende paneldebatt

Tid: 12. november klokken 19:00

Sted: Vardeteatret, Rådhusgata 19, Oslo

Pris: Fri entré, innsamling til inntekt for Medical Aid for Palestinians og One Voice Movement

Medvirkende: Terje Skonseng Naudeer, Thea Borring Lande, Sveinung Oppegaard, Torgny Aanderaa, Ingrid Askvik og Tor Itai Keilen

Regi: Øystein Ulsberg Brager

OIT presenterer Sju Jødiske Barn av Caryl Churchill og Sju Andre Barn av Richard Stirling med påfølgende paneldebatt, og stiller spørsmålet: Hvilken rolle kan dramatikken spille i forhold til konfliktsituasjoner verden over? Deltagere i panelet er blant annet Gunnar Germundson fra Dramatikerforbundet og litteraturviter Rana Issa. Dramaturg Njål Mjøs leder debatten. Det er fri entré, og OIT vil etter dramatikernes ønske samle inn penger som deles likt mellom Medical Aid for Palestine og One Voice Movement.

Det er begrenset med publikumskapasitet, så hvis du ønsker å sikre plass er det mulig å sende epost med navn og antall publikumere til: oslointernasjonaleteater@gmail.com

Vi vil etterhvert opprette en egen mailingliste for OIT som kun omhandler våre arrangementer i Norge. Om du ønsker å stå på denne er det hyggelig om du sender en email med «Påmelding OIT nyhetsbrev» i emnefeltet til: oslointernasjonaleteater@gmail.com

Mer info finnes på http://oslointernasjonaleteater.wordpress.com

Vi håper du kan komme torsdag 12. november!

Hamletmachine in Montpellier, photo: Tamás Kiraly

Hamletmachine in Montpellier, photo: Tamás Kiraly

INVITATION

Oslo International Theatre invites you to a rehearsed reading of

Seven Jewish Children by Caryl Churchill and Seven Other Children by Richard Stirling with a following panel debate

When: 12th November at 7pm

Where: Vardeteatret, Rådhusgata 19, Oslo, Norway

Entry: Free, a collection is made for Medical Aid for Palestinians and One Voice Movement

Cast: Terje Skonseng Naudeer, Thea Borring Lande, Sveinung Oppegaard, Torgny Aanderaa, Ingrid Askvik and Tor Itai Keilen

Directed by: Oystein Ulsberg Brager

The reading will take place in Norwegian.

OIT presents Seven Jewish Children Caryl Churchill and Seven Other Children by Richard Stirling with a following panel debate. We ask the question: What role can the theatre play in relation to areas of conflict around the world? Amongst others the leader of the Norwegian Playwrights’ Organisation, Gunnar Germundson, and fellow of the University of Marburg, Rana Issa, will participate in the debate, which will be moderated by dramaturg Njål Mjøs. Entry is free, and a collection will be made benefitting Medical Aid for Palestinians and One Voice Movement equally.

Audience numbers are limited, so if you wish to reserve a seat please send us an email with your name and the number of people to oslointernasjonaleteater@gmail.com.

For more info see http://oslointernasjonaleteater.wordpress.com

Welcome!

- Oystein

Ghosts of Past and Present

Friday, August 21st, 2009

Norwegian-Readings-005

On the 18th and 19th August ATC and Company of Angels presented Ghosts of Past and Present, two evenings of rehearsed play readings by emerging Norwegian playwrights in association with the Arcola Theatre and supported by the Norwegian Embassy. The two plays were Blue sky, green forest by Bjørnar L. Teigen and Buy Nothing Day by Kim Atle Hansen.

The readings were directed by myself. The wonderful cast consisted of Lloyd Gorman, Amrita Acharya, Eloise Secker, Laura Prior, Hannah Pierce and Alex Packer. Lloyd Gorman also composed excellent melodies for the songs performed in Buy Nothing Day. Philip Thorne and I translated the plays, working from existing literal translations by Svein Solenes (Blue sky, green forest) and Kim Atle Hansen (Buy Nothing Day).

We were delighted that Bjornar L.Teigen, the writer of Blue sky, green forest, was able to come from Norway to see the readings. He seemed pleased with how we’d dealt with translating his play and putting it on stage, so I’m very happy about that!

The Norwegian readings were part of ATC’s Spin Off program and took place at the Arcola Theatre before the performance of ATC/Arcola Theatre’s production of Ghosts or Those Who Return by Henrik Ibsen, presented in a new version by Rebecca Lenkiewicz. The ATC production was directed by Bijan Sheibani.

For more information see www.atctheatre.com or www.companyofangels.co.uk, or http://www.atctheatre.com/index.php?plid=78&show=info

- Oystein

Sense by Anja Hilling at Southwark Playhouse

Thursday, April 9th, 2009
Company of Angels presents Sense at Southwark Playhouse

Company of Angels presents Sense at Southwark Playhouse

From 28th April to the 2nd May

This is not an Imploding Fictions production, but is produced by our good friends and collegues at Company of Angels. Oystein is directing “Nose”, one of the 5 pieces:

Following on from the play’s success at Theatre Café Festival 2008, five Company of Angels’ Associates will jointly be directing a promenade production of the award-winning Sense by German author Anja Hilling with a cast of 10 final year Drama Centre students.

Sense is a series of interlinking narratives. All five ’senses’ are also plays in their own right. A play about teenagers, love, and the need to make radical choices, Sense is an intense, poetic journey into touching, inhaling, tasting, hearing, seeing and experiencing life to the extreme.

“astonishingly grown-up and hard-hitting theatre for young people”
Lyn Gardner – The Guardian, on Theatre Cafe 2008

Tickets can be booked from:
www.southwarkplayhouse.co.uk
or 020 7407 0234

Or read more on:
www.companyofangels.co.uk

Hope to see you all there!

- Oystein

New office address

Sunday, April 5th, 2009

Please note that Imploding Fictions has a new office address:

Imploding Fictions 
CO/Oystein Ulsberg Brager
24 Bay Tree Close
Sidcup
Kent DA15 8WH

- Øystein and Pip

A show that never was and two (UG)gly samaritans

Monday, September 22nd, 2008
(UG)gly, the brilliant show that replaced ours

(UG)gly, the brilliant show that replaced ours at the Amsterdam Fringe Festival

Øystein in email-conversation with Adrian Gillott

After the letter exchange between David Overend and myself arranged by INSTED (see right hand menu), exchanging thoughts and ideas through letters has fascinated me. It’s very stimulating putting your thoughts down in letters, and getting thorough and intelligent responses to it. Your ideas feel like they matter, and that is a very satisfying feeling.

Here is a slightly shortened version of an email conversation between myself and Adrian Gillot of TheSamePerson who stood in for us on short notice when we were hindered from going to the Amsterdam Fringe:

Subject: URGENT from Oystein, can you help us?!‏

From: Øystein
Sent: 25 August 2008 13:34:26

Hi Adrian,

Philip and I have got into an unfortunate situation… As you know, we were going to perform at the Amsterdam Fringe Festival. But then Philip decided to fall down a flight of stairs and damage his leg, so now we’ve had to cancel. Very disappointing for us, but also for the festival who have now got four nights available in one of their best venues. So… we thought we’d ask you if you and Anna wanted to go with UG(gly) instead?

(…)

All the best,

Øystein

From: Adrian
Sent: Mon, 25 Aug 2008 17:48:08 +0100

Hey Øystein,

Thanks for thinking about us! It would be very cool if Anna and I could take UG(gly) to Amsterdam.

But how terrible for you guys. I’m so sorry to hear about Philip and his leg. Argh! Why do these things happen at such terrible times?

Thank you!

Best,
Adrian.

From: Øystein
Sent: 29 August 2008 09:50:21

Hear you’re going! Great stuff! Have an amazing festival! :)

Best, Øystein and Pip

From: Adrian
Sent: 29 August 2008 10:29:51

Yes, it looks like we’re going…

It’s a bit scary because we haven’t looked at the show since June but it is going to be really exciting. I can’t believe that we are profiting from your misfortune, though; that seems really harsh. I hope that Pip’s leg gets better really soon. And, you know, I am really curious about your show…

Best,

Adrian.

From: Øystein
Sent: 30 August 2008 10:07:01

Well, it was supposed to be about failure. So I reckon this was probably the best way to fulfill that aim… ;-P

Ø.

The two (UG)gly samaritans, here in blue

The two (UG)gly samaritans, here in blue

From: Adrian
Sent: 09 September 2008 20:06:04

Dear Øystein and Pip,

This is just to say thank you so much for recommending us to Anneke
for the Fringe. It is really such a shame that you were not able to go
because it was a beautiful theatre and the people were so wonderful
(you have already met some of them, I think) but your loss was very
much our gain and we are extremely grateful. It was a wonderful few
days and an invaluable opportunity for Anna and I to play the show in
front of audiences of total strangers; and Dutch to boot.

Anneke was very disappointed that you guys were not there – after
Hamlet Machine (which she kept telling us about) she was really
excited to see what you were doing. I think she is expecting to see
you next year…

You must also tell Anna and I when you are performing in this country.

I am really curious about the show we were replacing. In fact, some of
the best people we had in the audience were just people who had been
searching on line and had picked your show as something out of the
ordinary to do with their Sunday evening (they said that they hardly
ever go to the theatre); they made do with ours but yours obviously
has something about it. Oh and there was the actor (whose name I have
forgotten) who picked your show as part of his Saturday evening
‘route’. In some ways it felt as though we were wearing somebody
else’s perfume! Now we want to know what it smells like in the right
place.

All the best,
Adrian (and Anna).

From: Øystein
Sent: 16 September 2008 17:10:01

Dear Adrian and Anna,

Well, thanks for helping us out! It was brilliant for us to be able to recommend a good show rather than just disappearing and leaving the festival in a trick situation… We’re glad you enjoyed playing there, and that you had a good reception!

Hearing about all the people who had randomly discovered our show, or had been eagerly anticipating it is rather weird, sitting here in little Sidcup…

We’ll definitely go to the Amsterdam Fringe next year. And perhaps you will too, if this year’s ad hoc performance was a success?

It doesn’t seem like Now You See It will surface again, at least not for a while. After interrupting and calling off rehearsals and performances this time we feel like the moment has passed for that particular show. But, we’re up to our neck in other plans and ideas instead. You can see the first ten minutes of Now You See It on our YouTube page, if you haven’t done that already. There were a number of further ideas known only to me and Pip (both or one of us) which the world will never know. In combination with what we already had and the what the blurb promised, I’m sure it would have been a very intriguing show. Now, it’s the show that never was. An idea which does have a certain romantic, mystical or even eery quality to it.

We have our next performance in November, and you should come and see it if you can! Its a very different kind of show to Now You See It, its called Norway.Today and is a piece of drama where video is essential to the story, and we use live feed video projection a lot. Its on at Southwark Playhouse as part of the Theatre Café Festival arranged by Company of Angels.

Best wishes,

Øystein and Pip

(PS. Can I use this email-conversation as an entry for our blog? I liked your perfume-analogy and my “show that never was”)
From: Adrian
Sent: 17 September 2008 23:34:43

Dear Øystein,

I’ll just reply to you quickly – otherwise I won’t get to reply for a
week or more.

So:

I watched the Now You See It video. I think it’s a shame that you are
not continuing to work on that because I think there is something very
promising about the place you started from. Maybe you can cannibalize it for new shows.

Please feel free to use the e-mail conversation. I assert no ownership.

Hope to see you in November.

Best, best,
Adrian.
For more info about TheSamePerson have a look at their webpage: http://www.thesameperson.com
(and make sure you watch their funny and weird little videos!)

Some musical fun to be had

Monday, July 7th, 2008

ITs Festival

foto: Sigrid C. Degener/ITs Festival

During Imploding Fictions’ trip to Amsterdam where we performed Hamletmachine as part of the ITs Festival, we also participated in the INSTED @ ITs program. INSTED is an international network for young theatre directors (www.insted.eu) and Pip and I have taken on the responsibility for being INSTED’s London representatives. 

The ITs or International Theatreschool Festival (www.itsfestival.nl) is a large festival presenting final work by graduating theatremakers from Belgium, the Netherlands and elsewhere. As a side program to ITs 08, INSTED invited 20 young international and 20 young Dutch theatremakers, and arranged a week of workshops, talks, networking and parties. I participated in what was called the Music Theatre Workshop (replacing the original opera workshop). This was not a workshop on how to direct musicals as one might think, but rather a series of laboratory sessions of theatre-making, focusing on how music could play an essential part in making theatre, enhancing or adding something new to a moment of theatre and also become central in the telling of a story on stage.

INSTED @ ITs

The workshop was consummately and engagingly lead by Thomas Spijkerman and Wilko Sterke, two young musicians and theatremakers (both young gentlemen with an impeccable sense of retro style – looking just as if they were extras in an Austin Powers movie), and we were six young directors participating. Over the course of the four days the workshop went on for, we explored the function music could have in a number of different ways: With pre-recorded music, with live music performed beautifully by Thomas and Wilko, with live music performed not necessarily always as beautifully by the rest of us, with musical- or cabaret-style singing characters, with music naturalistically woven into the scene (a character listening to music in the scene f.ex.), as background music/muzac, Hollywood style emotional underlining, abstracted sound-scenarios and as pure, unadulterated, loud, riotous, riveting, raucous, noise!

Highlight of the week: Øystein during the showing for the rest of the INSTED crowd on the last day, hammering madly on a bass guitar (I can’t play one for shit, but I can make lots of sound with it), being so encaptured – no, entranced – in the industrial, deafening, cacophonic, earpiercing soundblast, he doesn’t realize the scene is over ages ago and everyone is shouting for him to stop…

Hell yeah, give me some LOUDNESS!

(Dear Pinter; this might be the first and only time in history that one of your short playlets have been given the deaf-metal treatment. Though it was good, I’m pretty sure you don’t need worry about it happening again.)

Conclusion: If you ever come across Thomas Spijkerman or Wilko Sterke, don’t shy away. I guarantee there’s some musical fun to be had, some exciting experiments to be made and lots to learn! 

Next year: Give me a drumkit. Ooohhh yeah. 

ITs Festival

foto: Sigrid C. Degener/ITs Festival  

Imploding Fictions’ Hamletmachine was performed at the ITs Festival at Theatre Frascati on the 23rd June 08. 

www.itsfestival.nl

http://www.itsfestival.nl/2008_nl/festivalinfo/juryguestaward.php

http://www.itsfestival.nl/2008_nl/festivalinfo/Recensies.php  

www.theaterfrascati.nl

www.implodingfictions.com 

 

INSTED @ ITs took place from 23rd – 29th June 08. 

www.insted.eu

http://www.itsfestival.nl/2008_nl/programma/instedatits.php

http://www.insted.eu/instedatits 

(That last web address says “Insted at ITs”, not “instead’a tits”. Just to clear that up.)

 

- Øystein

He-e-e-ere’s Johnny! or Why we should never have clicked our heels

Thursday, May 22nd, 2008

Heres Johnny

(Jack. One of our regulars. He played one of the robots in Hamletmachine. Great guy.)

 

WARNING: This blog entry contains an overload of clichéd verbal imagery, gross exaggeration, naff pop-cultural references, shameless self admiration and personal opinions. (It is, in other words, not that dissimilar to Cherie Blair’s recent biography.)

Looking at our busy schedule the last year, one might think Imploding Fictions’ projects appear like duped rabbits out of a magicians hat (“What’s with the bright light? How did I get here? Why do my ears hurt?”), pearls on a string (Norwegian expression. Don’t ask.), train carriages out of a tunnel, one following the other, or that they fall into place like dominos or double cherries on a slot machine (Keeeerching!!!). 

 

Sammy

(Sammy, doing his impression of a confused rabbit.)

 

Although all these analogies might carry some truth (particularly the ‘Keerching’ bit),  the actual experience is more like this:

It is like looking at a door.

A large, calm, white door. Impeccably painted, nicely framed and comfortably closed. It is the kind of door that fills you with peace inside, like a door of good karma, a haven of light wood and worry-less tranquility. 

Then.

All of a sudden a massive, kick-arse axe comes hacking its way loudly through the all-too-soft wood in a single smashing blow. Splinters fly everywhere and through the jagged hole a new project rears its ugly head and grins shamelessly in our face exclaiming: 

“He-e-e-ere’s Johnny!!!”

 

The Shining

“Keerching!”

 

In fact, I don’t believe the experience from the inside of the Imploding Fictions vehicle even remotely resembles the viewpoint from the outside. From the corner of the sofa, with a beer and a bowl of popcorn, the Formula 1 racing car is a feast for the eye, a glistening, gleaming beam of light through the dust of the racing track, with a low, humming drone gently caressing your ears emerging from the speakers of the TV-set. From inside the cockpit on the other hand, the scandi-anglo-germanic co-pilots experience a brain mushing, blood curling G-force, battling neck breaking acceleration (Buckle up, cowboy! Let’s ride!) and the noise is like having a 10-inch nail hammered ruthlessly through your eardrums. 

Metaphorically speaking, that is.

Metaphorically speaking, Imploding Fictions is like a Formula 1 car where the pan-european construction team with a combination of luck and utter foolishness built the engine out of the spare parts of a space rocket – but completely forgot to install brakes. 

Or, it is like the baby in Lynch’s Erasorhead (the cutest baby ever to hit the silver screen!); a demanding, devouring, desperate creature with an excess of growth hormone, a living thing which has to be fed and tended to every day, like a mean green mother from outer space and it’s bad… But like any living creature, worthy of of love and respect (This is where the blog goes soppy, look out. Get your handkerchiefs lined up), having become something we crave for, enjoy (why else would we be doing it?) and ultimately depend on. 

It is not something we can really drop or forget, it is not just an object or a concept or simply a legal entity, it is more than that. Something that can perhaps only be expressed through metaphor:

Imploding Fictions is like waking up in the morning, discovering that you have been chained to a rodeo-bull who can’t tell anger management from nuclear warfare just about to be severely stung on his crown jewels by a bee with the wrong sense of humor. 

 

MF bee

(Example of bee with the wrong sense of humour.)

 

It is both our Mr. Hyde and our super hero alter ego. 
Our anagram.
That which you read between the lines.
It is our hidden treasure and the life-size map to find it.
Our fun fair mirror room reflection.
Us without the make up on.

A stack of yellow bricks next to a big, blinking neon sign saying: 

“Grab your sand and bubble-fluid, guys!
It might mix nicely into mortar!” 

 

You can read more about Imploding Fictions’ various projects on http://www.implodingfictions.com.

- Øystein

Thunderous applause as the band plays on…

Monday, April 28th, 2008

Pip

 

The distinct smell of make up, boiled sweets and cheap champagne hangs in the air. We are unpacking our BAC scratch show of bad jokes, bad acting and bad taste and turning it into a full length evening of misjudged razzle dazzle for the Frascati Theatre in Amsterdam. 

Now you see it, now you don’t is essentially the debris of a clown act, a topsy turvy magic show. The principles of showmanship are deconstructed… hence, build up and punch-line are presented in the wrong order, the magical effect pre-empts its presentation. What should be fast and snazzy and glam is rendered through slow-motion, while the actual ‘trick’ is understated to the point whereby it almost escapes attention… 

 

The idea for the show was spurned through a simple fascination for the processes of a repeated joke: its journey from amusement, to becoming a running gag, to becoming a crushing bore and finally through stubborn persistence finding its way back into a warped kind of humour. Now you see it, now you don’t plays with such perceptual shifts and the slippery proximity of laughter and embarrassment, tragedy and comedy, wit and stupidity. The piece also owes a lot to our admiration for Tommy Cooper, and we’ve been watching far too much Jan Svankmajer latley. 

Oystein

And there will be confetti. Lots of it. There will be so much confetti that you will never want to see the bright frivolous stuff ever again.

 

Two clowns sit opposite the audience. It is the day after the party. After the show. Possibly after the last ever show. Shards of the old act are performed out of context and gags are riffed. An unaffected, lazy, drunken haze seems to lie over the whole thing, which somehow seems to magnify the oiled routines – their absurdity, their construction and their addictive appeal. 

 

Now you see it; now you don’t is a celebration of failure, a bid to give drinking games the title of art, and an attempt to salvage the world through an overabundance of confetti. 

 

- Philip

Imploding Fictions in Hamburg

Monday, April 7th, 2008

 

Hamburg 

 

Together with INSTED we were invited to the Körber Studio Junge Regie 2008 in Hamburg, Germany’s annual symposium for young directors. We lived in a place just of the Reeperbahn (probably the most decadent street in Europe), but even so nightlife was eclipsed by a full on schedule that seemed devised to test even the toughest theatre junkie. 

 

The regular programme:  show for breakfast, four hour afternoon debate about the previous shows, supper (this was invariably soup), first play of the evening followed by an audience discussion, second play of the evening followed by an audience discussion, then a ‘party’ (which was another play, only this time you were allowed to bring in a glass of wine). 

 

So, this was the ‘basic programme’ around which were scheduled a series of special events, shows, talks and debates, including a lecture with postdramatic theatre gurus Hans Thies Lehmann and Heiner Goebbels.

 

By the end of six days we had seen nineteen shows. You can read the previous sentence again if you like.

 

Being invited to the Körber Studio Junge Regie in Hamburg is equivalent to being waved onto a roller-coaster escapade through the current trends of contemporary German theatre. It would be an interesting sociological experiment to force Charles Spencer through the experience. My guess is that he’d explode in a fit of indignation. 

 

With neat regularity Spencer accuses people like Katie Mitchell of ’smashing up the classics’, taking ‘outrageous liberties’ and ‘not serving the intentions of the dead playwright’ (actual quotes!!!) On evidence of Körber Studio 2008 faithfully reconstructing classics is certainly not what German theatre is about. It dismantles them, reconfigures them into new constellations, probes them for contemporary relevance or exposes ideological clashes with current thinking. The productions we saw of Woyzek, Hamlet, Hedda Gabler and Elektra were not attempts at reconstructing Büchner, Shakespeare, Ibsen or Hoffmansthal but rethinking them and their themes from a 21st century standpoint. A central figure at the core of German (and most European) theatre is the ‘dramaturge’. When the term crops up it in Britain it is usually in reference to someone who acts as a kind of script supervisor on new writing. But on the continent dramaturges work on classic plays, they research previous drafts, influences etc. and then, together with the director, determine the structure and strategy for a new production (in Britain we’d say adaptation) of it. The constant accompaniment of the dramaturge and the resulting intellectual rigour in theatrical debates was one of the first striking features of our visit to Hamburg.

 

Talk at Körber Studio Junge Regie 

 

The other one (really not wanting to be stereotypical, but hey) was that German tea is a fucking disgrace. You get presented with a glass (!) of warm water into which you are expected to dunk a tea bag. And when Oystein asked for tea with milk the guy behind the bar (after an initial period of confusion) held it under the coffee machine and filled it up with frothy milk. 

 

A rather novel aspect of the festival was that it was accompanied by students of criticism (in Germany you study to become a critic) as well as the students of directing, dramaturgy and acting. The critics joined the directors’ internal discussions and debates on the shows we had seen and then read out and discussed their reviews with the artistic teams under discussion present. This meant that the practitioners had an opportunity to give direct feedback to the critics and vice versa. It was a great idea to bring these two stereotypically polarised fronts together and engage in mutual debate.

 

Christa Müller, a dramaturge at the Thalia showed us around the Thalia Theater which made us green with envy: two rehearsal stages which are exact replicas of the main stage (minus the auditorium) a firmly employed ensemble of actors on a regular salary and a current repertoire of fifty three (!!!) plays! 

 

Thalia Theater 

 

Our stay in Hamburg was really inspiring and we met some great people – we thank the Thalia Theater, the Körber Stiftung and INSTED for inviting us, and we hope to return to Germany again soon (maybe next time with a production…) Next week we’ll be back in London.

 

Read more on: 

http://www.insted.eu 

http://www.thalia-theater.de

http://www.koerber-stiftung.de/foerderung/foerderung_junger_kuenstler/studio_junge_regie/index.html

http://www.implodingfictions.com 

or see some more photos from our trip on 

http://www.facbook.com/photo.php?pid=481820&l=eee5e&id=603357604

 

- Philip