Arctic Drama to Sámi Theatre - Cultural Clashes towards Decolonisation: In Shared Dialogic Spaces

This article deals with the concept of Arctic Drama, which is about how there is a relationship between drama and cultural clashes in the perspective of shared cultures in the northern Scandinavian area, which is defined as arctic in the geographical sense. In this vast area the Sámi people historically and to the present day have been living from reindeer herding in a nomadic lifestyle, giving them a close relationship to nature. Norwegians and Swedes colonised this area historically, especially the coast for fishing.There have been strong cultural clashes since the Viking ages, but colonisation mainly started later by introducing Christianity by force in the 16th century. Since the Romantic age, these ethno-cultural clashes have been reflected in drama and theatre, and some plays by Henrik Ibsen and Knut Hamsun echo these tensions. An independent theatre of the Sámi people as well as of other indigenous people in Greenland and Canada, like the Inuits, would also develop some theatrical strategies based in a dramaturgy that could be described as a “spiral dramaturgy”. Cultural independence has contributed to a decolonisation process, contributing to even out the cultural clashes in theatre and drama, which could be defined as postcolonial towards decolonisation. This article focuses on the area of arctic Scandinavia.publishedVersio

Theatre Studies 3.0. Introduction

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Opplevelsens teater som forskningsfelt: Et kritisk-refleksivt blikk på kunstfaglig forskning - encyklopedisk uorden og metafor som grep for å etablere feltet

Artikkelen er en introduksjon til et metaforisk perspektiv på teaterforskning i skjæringspunktet mellom teori og praksis. Den er et forslag til hvordan en kan reflektere over praksis i lys av den personlige opplevelsen og betrakterens blikk. Metaforer og encyklopedisk uorden sees i et geokulturelt perspektiv. Det blir gitt en teaterhistoriografisk innfallsvinkel som tar høyde for det estetiske såvel som det personlige engasjementet. Artikkelen konkluderer med at kunstfaglig forskning må ta høyde for en dialog mellom kunst og vitenskap. This article is an introduction to a metaphorical perspective in theatre research in the crossroad between theory and practice. It proposes how one can reflect upon practise in light of personal experiences. Metaphors and encyclopedic disorder can be seen in a geo-cultural perspective. It leads to a historiography taking into consideration that the aesthetic can be seen in conjunction with the personal. The article concludes with saying that artistic research has to be based in a dialogue between art and science

Teaterkritikken og det nyimpresjonistiske

Essay af Knut Ove Arntzen, hvor han fortæller om teaterkritikken i Norge

Den gjenoppståtte teatermaskin: Et postdramatisk paradoks

In the article »The Resurgent Theatre-Machine« Arntzen points out a paradox in the relationship between what he calls a Theatre of Art and a Theatre-Machine. The paradox consists in the fact that the Theatre of Art, i.e. the avant-garde, on the one hand stands in opposition to the Theatre-Machine, i.e. art as craft. On the other hand however Arntzen observes the resurgence of the Theatre-Machine inside the framework of the Theatre of Art in contemporary theatre

Vegard Vinge og Ida Müller: - performativ tegneserie og ironisk teatermaskin

Portrettet av Vegar Vinge og Ida Müller omhandler Ibsen-sagaen 1-4, som er et forestillingsprosjekt basert på noen av Henrik Ibsens mest sentrale skuespill. Et dukkehjem (2006), Gjengangere (2008) Vildanden (2009) og John Gabriel Borkman (2011). Den musikkdramatiske klangbunnen vises i timingen og hvordan lyden bidrar til å gi en karakter av audiovisuell installasjon

Tuukkaq, Silamiut og Grønlands Nationalteater*: Antropologisk vending til ny-kontekstualiserte klassikere mytedramaturgi og inter-nordisk utveksling

Denne artikkelen tar for seg utviklingen av profesjonelt teater i Grønland på basis av Tuukkaq-tradisjonen og den antropologiske vending. Denne tradisjonen ble videreført i Silamiut-gruppen og senere Det grønlandske nationalteater og Teaterskolen i Nuuk. Teatrets betydning for dekolonisering av kulturlivet er også et viktig anliggende for artikkelen. This article gives an outline of the development of professional theatre in Greenland based in the Tuukkaq-tradition and the anthropological turn. is tradition was taken on by the Silamiut-company and later the Greenlandic National Theatre in Nuuk by and The Theatre School. Theatre’s impact on the decolonization of culture in Greenland is also an important statement

Kabaret, det revolusjonære og poetiske: Teateravantgarde i Norge 1920–1950

In Norway, the theatrical avant-garde, 1920–1950, was oriented towards cabaret dramaturgy and symbolism. There also developed a direction of political theatre, as well as tendencies towards a more poetic-theatrical kind of theatre. Directors such as Agnes Mowinckel and Hans Jacob Nilsen were central to this development in both private and institutional theatres. A monumental realism had already established itself as a Norwegian directing style in connection with the Ibsen-tradition at Nationaltheatret, where Johanne Dybwad was a prominent figure. A major director of the avant-garde was Stein Bugge, who also wrote comedies of the grotesque kind. The article also gives examples of the cabaret culture in the arctic, exemplified by popular revues with participation from traveling directors like the Jewish Salomon Schotland. One can basically speak of a revolutionary avant-garde also, using amateur theatre like in the work of Olav Dalgard. This avant-garde would by the 1950s be followed up by dramatic writers like Tarjei Vesaas and Georg Johannessen, preparing the way for new tendencies of cabaret and laboratory theatre, like ‘Odin Teatret’, founded in Oslo in 1964. The fact that ‘Odin Teatret’ after a couple of years left Norway for Denmark, represented a temporary halt for Norwegian avant-garde until a new social oriented and performative avant-garde came about in the 1970s.In Norway, the theatrical avant-garde, 1920–1950, was oriented towards cabaret dramaturgy and symbolism. There also developed a direction of political theatre, as well as tendencies towards a more poetic-theatrical kind of theatre. Directors such as Agnes Mowinckel and Hans Jacob Nilsen were central to this development in both private and institutional theatres. A monumental realism had already established itself as a Norwegian directing style in connection with the Ibsen-tradition at Nationaltheatret, where Johanne Dybwad was a prominent figure. A major director of the avant-garde was Stein Bugge, who also wrote comedies of the grotesque kind. The article also gives examples of the cabaret culture in the arctic, exemplified by popular revues with participation from traveling directors like the Jewish Salomon Schotland. One can basically speak of a revolutionary avant-garde also, using amateur theatre like in the work of Olav Dalgard. This avant-garde would by the 1950s be followed up by dramatic writers like Tarjei Vesaas and Georg Johannessen, preparing the way for new tendencies of cabaret and laboratory theatre, like ‘Odin Teatret’, founded in Oslo in 1964. The fact that ‘Odin Teatret’ after a couple of years left Norway for Denmark, represented a temporary halt for Norwegian avant-garde until a new social oriented and performative avant-garde came about in the 1970s