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Universitetet i Bergen Institutt for lingvistiske, litterære og estetiske studier TEAT350 Mastergradsoppgave i teatervitenskap Vårsemester 2015 Skuespillerkunstens utvikling på Den Nationale Scene fra 1876 til 1918 med Octavia Sperati som orienteringspunkt. Tina Horrisland Engedal 2 Abstract In this master thesis I will examine the development in the art of acting at Den Nationale Scene in Bergen during the years 1876 to 1918. Actress Octavia Sperati and her work at the theatre will be the orientation point for analyses, based on her two books Theatererindringer and Fra det gamle Komediehus. The initial part of this dissertation begins with a historical view on the development of “natural acting” from the bourgeois tradition, starting in the 1750s, and up to 1876-1918. Further I will look at the conditions for a development in the art of acting at Den Nationale Scene during this period. These external conditions are the theatre building, the repertoire, the theatre managers and directors, the actors conditions for work and rehearsals and the audience and theatre critics. I will go through the years 1876 to 1918 chronologically and analyse specific performances that is relevant for a change in the art of acting. Mainly the change is towards a more natural form of acting, where the everyday life is portrayed on stage. My analysis shows that the contemporary dramatic poetry of mainly Henrik Ibsen and Bjørnstjerne Bjørnson sets the condition of how to act. The art of acting is in a practical tradition, that means that the actors does not get their education from theoretical acting schools and that there is no fundamental theories on how to act. -
Pauline Hall Lacht Laut
Hall, Pauline Sinfonikerin?” Pauline Hall lacht laut. „Ja, vom Übersetzen von Schlagertexten, von Musik zu Radiosendungen für Kinder, von musikalischen Arrange- ments in den komischsten Formen, von Zeitungsartikeln und Übersetzungen, vom Korrepetieren und Sprechen im Radio, vom Dirigieren eines Vokalquintetts. Kurz ge- sagt, von allem anderen, nur nicht vom Komponieren. Denn davon krepiert man, wenn man nicht gerade das Glück auf seiner Seite hat.”) (Interview im „Dagbladet“ vom 13. September 1934). Profil Pauline Hall war eine markante, vielseitige und interna- tional agierende Musikerpersönlichkeit in Norwegen in der ersten Hälfte des 20. Jahrhunderts. Sie war in erster Linie Komponistin und hatte mit Liedern, Kammermu- sik sowie mit Kompositionen für Film und Theater und als Sinfonikerin großen Erfolg. Mit ihren künstlerischen Erfahrungen, die sie in Paris und Berlin gesammelt hatte, förderte sie die Begegnung zwischen der norwegischen und der französischen bzw. deutschen Musikkultur. Sie entwickelte einen impressio- Pauline Hall, ca. 1950 nistischen, später französisch-neoklassizistischen Kom- positionsstil. 1930 engagierte sie sich für die norwegi- Pauline Hall sche Premiere von Kurt Weills „Dreigroschenoper”. Geburtsname: Pauline Margrethe Hall Nicht nur als Komponistin, sondern auch als festanges- tellte Kritikerin und Kommentatorin der Tageszeitung * 2. August 1890 in Hamar, Norwegen Dagbladet, als Vorstandsmitglied der Norwegischen † 24. Januar 1969 in Oslo, Norwegen Komponistenvereinigung sowie als Gründerin und Vorsit- zende -
Kabaret, Det Revolusjonære Og Poetiske Teateravantgarde I Norge 1920–1950
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Bergen Open Access Publishing (University of Bergen Library) TEATERVITENSKAPELIGE STUDIER 1/2019, 53–66 Kabaret, det revolusjonære og poetiske Teateravantgarde i Norge 1920–1950 Knut Ove Arntzen Abstract: 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 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. -
Den Nationale Scene
Statens prosjektmodell Rapport D025a KVALITETSSIKRINGSRAPPORT KS1 DEN NATIONALE SCENE UTARBEIDET FOR KULTURDEPARTEMENTET OG FINANSDEPARTEMENTET 23.JANUAR 2017 Ver. Status Dato Kommentar til versjonen Ansvarlig 1.0 Overlevert 17.01.2017 Sendt til oppdragsgiver E.Holte 1.1 Revidert 23.01.2017 Innarbeidet merknader fra Hordaland fylkeskommune E.Holte DOKUMENTDETALJER Dokument Kvalitetssikringsrapport KS1 Den Nationale Scene Oppdragsgiver Kulturdepartementet og Finansdepartementet Forfattere Eilif Holte, Nina Høstvang Melby, Morten Hagen, Elisabeth Elle Smelror, Peter Hareide, Per Heum, Svenn-Åge Dahl, Astrid Oline Ervik Dato 23.01.2017 Oppdragsansvarlig Eilif Holte Kvalitetssikrer Yngve H. Olsen, Audun Gleinsvik Tilgjengelighet Fotografi forside http://www.dns.no/english/ 2 FORORD Holte Consulting, SNF og A-2 har på oppdrag fra Kulturdepartementet og Finansdepartementet gjennomført en kvalitetssikring av konseptvalgutredningen (KVU) for Den Nationale Scene (DNS) i Bergen. Kvalitetssikringsoppdraget er spesifisert i Avrop datert 11.mars 2016. Konseptvalgutredningen er utarbeidet i henhold til Rammeavtale for kvalitetssikring av 21. september 2015 (Rammeavtalen). Kvalitetssikringen er gjennomført i tråd med kravene i Rammeavtalen. De viktigste konklusjonene fra oppdraget ble presentert for Kulturdepartementet og Finansdepartementet i et møte 9. desember 2016. Kommentarer gitt i dette møtet er tatt hensyn til i rapporten. Foreløpig konklusjon og anbefaling ble presentert for styret 14.desember. På dette grunnlaget fattet styret følgende vedtak; «Styret slutter seg enstemmig til KS1-rapportens konklusjon og anbefalinger». Vi vil takke alle som har bidratt i kvalitetssikringen. Rapporten ble i versjon 1.0 levert oppdragsgiver 17. Januar 2017. Den 18. Januar mottok Holte Consulting DNS – KS1 og KV 1.01. Førebelse merknader frå Hordaland fylkeskommune. Holte Consulting har innarbeidet et utdrag av merknadene og kommentert disse i kapitel 6.10.2. -
The Philosophy of Nature As a Springboard Into Social Realism
TINA HAmrin-DAHL The philosophy of nature as a springboard into social realism About Ibsen’s Emperor and Galilean and a post-secular interpretation of the drama by Hilda Hellwig riedrich von Schelling (1775–1854) was a significant cultural influence Fwhen Henrik Ibsen (1828–1906) lived in Germany in the 1850s. However, because of Schelling’s Naturphilosophie, which stood out as irreconcilable with the scientific philosophy of the positivists, Schelling came to be more and more neglected after the mid-nineteenth century. His pronounced ideal- ism, belief in God, and metaphysical comments were branded ‘old-fashioned’ soon after his death. But Schelling’s ideas were still there and many think- ers were curious about them. Søren Kirkegaard (1813–55) was one of them. Today, Schelling is mentioned in contexts where ideas about ‘mindfulness’ are of importance. In 1979 Jon Kabat-Zinn, with a PhD in molecular biol- ogy, founded a clinic for Mindfulness-Based Stress Reduction (MBSR), and his programme became a course at the University of Massachusetts Medical School (Kabat-Zinn 1982). Although originally articulated as an element of Buddhism, it is pointed out by committed practitioners that there is noth- ing inherently religious about mindfulness. It is however about integrating the healing aspects of Buddhist meditation practices with the concept of psy- chological awareness and healing. To a high degree in Western countries, psy- chotherapists have adapted and developed mindfulness techniques (Kabat- Zinn et al. 1985, Bishop et al. 2004). When it comes to metaphysics, Schelling’s influence on the religious ideas that were accepted by Ibsen was never acknowledged. -
Kabaret, Det Revolusjonære Og Poetiske Teateravantgarde I Norge 1920–1950
TEATERVITENSKAPELIGE STUDIER 1/2019, 53–66 Kabaret, det revolusjonære og poetiske Teateravantgarde i Norge 1920–1950 Knut Ove Arntzen Abstract: 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 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. Om forfatteren: Knut Ove Arntzen, f. 1950, er professor i teatervitenskap ved Universitetet i Bergen. Magistergrad 1980, veiledet av Berit Erbe, etter stipendopphold ved Université de Paris III, veiledet av professor Bernard Dort, 1979/80. -
Det Nye Regiteatret I Ljos Av Samspelet Mellom Norsk Og Tysk Tradisjon
MASTEROPPGÅVE I TEATERVITSKAP Det nye regiteatret i ljos av samspelet mellom norsk og tysk tradisjon Institutt for lingvistiske, litterære og estetiske studiar Ragnhild Gjefsen VÅR 2012 Universitetet i Bergen Takk til Professor Knut Ove Arntzen for rettleiing Pappa Truls Gjefsen for korrektur Trønder Ingrid Saltvik Faanes for eikvinnesseminargruppeverksemd Lektor Ragnhild Lyssand Veim for engelskkunnskapar Jentene på lesesalen for fagleg hjelp, trøystande ord og kaffe Gutane på gangen for gode råd og sjokolade 2 Die Bühne ist frei, wenn wir die Freiheit ausnutzen wollen oder können - Peter Zadek 3 Summary The new director's theatre in light of Norwegian and German tradition In this master thesis I aim at viewing new Norwegian director’s theatre in perspective, by exploring the development of modern director’s theatre in Norway compared with German tradition. The 20th century can be seen as three different periods in which I will show how German tradition has influenced the Norwegian director’s theatre throughout time, asking how the relationship between the two traditions has changed over the years. Starting with the early 20th century, I take a closer look at some of the most important directors in the two countries and what characterizes their work. The first part portrays how the work of Max Reinhardt and Erwin Piscator inspired the Norwegian directors in the period around the First World War. The second large encounter between Norwegian and German tradition begins around 1960. Here it is the work of Bertolt Brecht and his Berliner Ensemble that provides the main inspiration to Norwegians and Germans alike. With Brecht as a common ground, the director’s theatre developed in a common direction in West Germany and Norway, through the directors working under Kurt Hübner in Bremen and Erik Pierstorff in Trondheim. -
Starten På Et Norsk Teater Utviklingen Av Realisme Som Stilideal I Skuespillerkunsten I Bergen På Slutten Av 1800-Tallet Tina Horrisland Engedal
TEATERVITENSKAPELIGE STUDIER 4/2020, 3–24 Starten på et norsk teater Utviklingen av realisme som stilideal i skuespillerkunsten i Bergen på slutten av 1800-tallet Tina Horrisland Engedal Abstract This article examines the developement in the art of acting in Bergen, during the last half of the 19th century. I will present a historical view on the developement of a realistic acting style; from the bourgeois acting tradition, starting in the 1750s, and up to the beginning of the 1900s at ‘Den Nationale Scene’ in Bergen. I will use actress Octavia Sperati and her work as the orientation point for the analyses. I will examine local and external conditions for a developement in the art of acting, how some theatre managers and directors can be viewed as initiators to a change in the art of acting, and how the contemporary dramas of mainly Henrik Ibsen and Bjørnstjerne Bjørnson sets new conditions regarding how to act. Keywords: Theatre history, Natural acting, Art of acting, Realism, Det Norske Theater in Bergen, Den Nationale Scene in Bergen, Octavia Sperati, Henrik Ibsen, Bjørnstjerne Bjørnson, Gunnar Heiberg, Irgens Hansen. Om forfatteren Tina Horrisland Engedal har en mastergrad i Teatervitenskap fra Universitetet i Bergen (UiB), 2015, og er nå ansatt som programkoordinator og inspisient ved Det Vestnorske Teateret i Bergen. Hun har tidligere jobbet som vitenskapsassistent og universitetslektor på timebasis i Teatervitenskap på UiB, samt arbeidet som frilans scenekunstprodusent. [email protected] Teatervitenskapelige studier 2020 © -
Den Nationale Scene
KOMPLEKS 9900193 Den Nationale Scene Bygnings- og eiendomsdata Fylke: Hordaland Kommune: 1201/Bergen Opprinnelig funksjon: Teater Nåværende funksjon: Teater Foreslått vernekategori: Verneklasse 1, fredning Totalt antall bygg: 2 Bygningsoversikt, omfang vern Byggnr Byggnavn Oppført Verneklasse Omfang GAB nr Gnr/Bnr 9901935 Den Nationale Scene 1906 - 1909 Verneklasse 1, fredning Eksteriør/Interiør/Utomhus 139281632 164/954 Vern kompleks Formål: Formålet med fredningen av Den Nationale Scene er å bevare de kulturhistoriske- og arkitektoniske verdiene ved et av de mest betydelige teatrene i Norge. Anlegget ble fredet i 1993. Begrunnelse: Den Nationale Scene innehar en sentral passering i norsk teater- og arkitekturhistorie. Teateret regnes som et hovedverk innen norsk jugendarkitektur. Den Nationale Scene utgjøre et helthetlig anlegg med teateret og parkanlegget. Omfang: Fredningen omfatter bygningen og utomhus som nevnt ovenfor. Fredningen skal sikre teaterbygningen, teaterparken, samt kulturhistoriske verdier knyttet til anlegget som helhet. Beskrivelse kulturmiljø Den Nationale Scene ble reist på Engen, som var Bergens gamle ekserserplass og festplass. Christian Michelsen ledet arbeidet for å få bygget et nytt og moderne teater. Arkitekt Einar Oscar Schou vant den utlyste arkitektkonkurransen, og da bygningen sto ferdig i 1909 hadde Bergen fått et praktfullt jugend-bygg. Grunnstensnedleggelsen til den Nationale Scene i 1906 var en av Kong Haakon og Dronning Mauds første offisielle handlinger. Teateret har en fremtredende plassering på Engen, som en avslutning på en åpen arkitektonisk akse som går gjennom sentrum via Ole Bulls plass, Olav V`s plass, Byparken, Lille Lungegårdsvann og til Bergens Offentlige Bibliotek. Parkanlegget rundt teaterbygningen er anlagt i samsvar med tidens jugend-idealer, dette skaper således et helhetlig kulturmiljø.