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From Opera to Opra to Ø to the Followers of Ø – a Tracing of the History Leading up to the Norwegian Opra’S Affirmative Oratory to Arms! to Arms!

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From Opera to Opra to Ø to the Followers of Ø – a Tracing of the History Leading up to the Norwegian Opra’S Affirmative Oratory to Arms! to Arms! From opera to opra to Ø to the Followers of Ø – A tracing of the history leading up to The Norwegian Opra’s affirmative Oratory To arms! To arms! — By Trond Reinholdtsen, opra director of The Norwegian Opra 81 From opera to opra to Ø to the Followers It is not necessary to repeat to the toilet window – opened the same of Ø – A tracing of the history leading up to The Norwegian Opra’s affirmative Oratory readers of this publication that week (or so). The art form in To arms! To arms! is a commissioned text opera as a relevant and potent question is no longer the outcast where the opra director at Den Norske Opra, Trond Reinholdtsen, writes about the history art form is dead, and has been genre of “opera”, but rather the of this institution and its followers. so for almost a hundred years new and potentially virginally Trond Reinholdtsen is educated as a clas- (since 1925, exactly). Despite fresh “opra”; a genre devoid of sical composer and singer. In his work, he is the effective use of newly built the Schlamm of traditions and mixing references to lecture, documentary, performance and banality with his interest in fancy-schmæncy architecture definitions. While The Norwegian narrative form, mathematical structure and opera houses serving as tourism Opera and Ballet considered communist propaganda. magnets, despite politicians’ having one world premiere during vanity projects and signifiers of its first five years, The Norwegian urban capitalistic dynamism, and Opra announced 15 in its first year despite desperate attempts to fake (admittedly all of them by the coolness and contemporaneity in opra director himself). belated Regitheater-stagings with Rigoletto in jeans, der Holländer The founding principle of The as business man or Papageno as Norwegian Opra was the old television celebrity, and despite Marxist maxim to gain “total still another sorry composer control over the means of produc- sacrificing artistic integrity and tion”. All aspects of the institution accepting impossible working should be treated artistically. conditions in the hope of gaining The aim was, through a radical some remnant of quasi-public downscaling of the opera appara- appreciation, we will not let tus, to reclaim nothing less than ourselves be fooled: Nothing, ARTISTIC FREEDOM AT ITS in terms of true artistic value or PUREST (which is fundamentally authentic creation, is happening lost in the repressive bureaucratic, with opera anymore. overly-academic, sneak-commer- cialized and conservative elitism This we all know. of the contemporary music scene). I was myself the dictatorial opra And it needs no further discus- director, the composer of all sion. So when the The Norwegian works, as well as the librettist, Opra had its inaugural perfor- director, Heldentenor, scenogra- mance of Orpheus in the opera pher, propaganda minister, web director’s living room in Oslo designer, ticketmaster, cleaning gate 7 in Oslo 2009, it was but a assistant, conceptual consultant, coincidence that The Norwegian head of the Worker’s Union, res- Opera and Ballet in Bjørvika – taurant chief etc. No more weak which incidentally can been seen institutional criticism aiming to from of the former institution’s modify the system from the inside 82 83 (which I had done for years)! in some sort of theoretical centrip- A kind of nucleus commune is ness come solely in the form of From now on, I build my own etal post-structuralist blind alley consolidated on the paradisiacal neo-fascism and are driven by institutions! quagmire of doubts, indecisions meadow, but their true orientation the more or less secret desire for and general philosophical frag- and format is The Whole World. violence. Meanwhile, the rest of In 2015, The Norwegian Opra had mentation. They are also perfect. While Ø is the ultimate with- the political sphere are forced into grown to a small crew of dedi- Yes, this is what perfection looks drawal from political, digital and a totally defensive apathy and are cated Opra-Superstars and moved like. Perfection comes in the form everyday banality for the sake not able to do anything other than its location to the forest in Sweden of the Void (Ø is the mathematical of Truth in an absolute refusing trying to save what can be saved to further radicalize its quest for symbol of the “empty set”). It of the Idea of the Public, The of formerly gained goods of the “isolation and concentration” would be irritating to go into a Followers, in an operation of true common, lobbying for unisex signaling a brutal cut with THE further explanation at this point, Hegelian Aufhebung, turns this toilet and otherwise keep as silent SYSTEM, and in the end also so please just accept this as an into its own negative. The authen- as possible and hope for the best. abandoning the concept of ”the axiom for now. tic Opposite is the confirmation It is an impotent struggle for a audience”. Instead, in the cellar of of the original Truth. Or in a more “capitalism with a human face”. the opera house, an infinite series BUT (fortunately): The opra theological language: If Ø is the of opra-films, was begun under films are posted on the so called testament, The Followers of Ø are There has evolved a version the name Ø. It is a mixture of “internet” and a group of viewing the apostles. Their first official of so-called ”accelerationism” dystopian science fiction, verismo, enthusiasts, a gang of idealized appearance will be a two and a bordering on the pathological in communist propaganda, outdated audience members, a true cult of half hour ideological affirmative a dark corner of contemporary existentialism and plump autobi- Precariat-Proletariat of Chosen Oratory in Jakob kirke in Oslo thinking (but the dark corners ography. In other words, a little Ones going under the name called To arms! To arms! Yep, seem to be the new centre like Der Ring des Nibelungen (but of “The Followers of Ø” have ladies and gentlemen, the time anyway). This version, sometimes much longer of course). The oper- gathered together from all over the of ambiguous theatre of minor called “Apocalyptic accelera- atic series counts 16 – no, 17! – world, transcending all identitar- particular struggles, weak pockets tionism”, may represent the true episodes at the moment of writing, ian borders, at a big meadow in of resistance and meditative moral challenge of today. It grew with one – admittedly compli- the forest of Sweden. Toward this considerations is over. The time out of a hallucinatory mixture of cated, but nonetheless continuous unlikely spot, they all gravitate: for the propagandistic medium of the cyberpunk culture of the 80’s, – narrative: Three protagonists, The old, the sick, the converted the forgotten Oratory is here! Oslo the rave and drug Jungle-techno for the sake of simplicity let’s capitalists, the minorities, the International Theatre Festival scene of the 90’s, and a sinister call them Parsifal, Parsifal and incels, the Lumpenproletariat, the has changed its name to Oratory desire for the ultimate unknown Parsifal, grow up in a cellar totally stupid, the sick, the animals, the Festival of the Stunde Null and radical alterity. It was cooked isolated from THE OUTSIDE. monsters, the un-organic things, Internationale! Hurrah! Hurrah! up by the notorious Nick Land They form a kind of enthusiastic all forms of matter – in short: the Hurrah! and his gang of student disciples alchemistic sect, and gradually, a radical universal Everyone. They in his infamously greasy office vision of a totally world changing aim to interpret and translate the The Followers, as the rest of us, in the University of Warwick in Event grows forth. Gradually message of Ø into potent action in have understood that we are all England. When reading about it though, their experiments in the concrete reality of our world: heading towards the Apocalypse. today, it comes forth as pure death political theory and new art forms An affirmative transition from As a civilization we have totally drive translated to philosophy: To seem to somehow lose some of theory to PRAXIS. lost the ability to create or to accelerate capital, growth, digi- the initial “directedness”, and the re-imagine the future. All political talization and cryptology (!) until fear is that they are getting stuck invention, creativity and grand- systematic overflow and possible 84 85 human extinction, until hopefully Vorabend two days before the some form of artificial intelligence Oratory). “The Followers of Ø” takes over the Promethean task of have carefully studied the Ø-cycle continuing progress and history. and reached an already expert To go as far as possible whatever level of understanding. They aim outcome, as general Kurtz in to be the instruments of Ø. Former Nick Land’s favourite movie audience members of Ø have tried Apocalypse Now! or as formulated to interpret the world. The task in the title of his only published now is to change it. But praxis book The Thirst for Annihilation. means failure. Praxis always involves misunderstandings of In 2020, when the perspective of theory. Praxis means repetition catastrophic climate change and (“failing better” and all that). other environmental and social Praxis means continuation. Praxis disasters feels acute, Land’s sui- has to cast off depression and fear. cidal strategy on behalf of human- And most important: Praxis means ity looms in the unconsciousness commitment. Where follows: of our collective politics. Land Praxis needs energy. Ergo: Praxis offers the desire of submitting to needs lemonade. The Oratory is the dynamic of capital and the a lemonade motor in the fight to machine while at the same time upholding the energy. The energy enjoying the hopelessness and to say (and do) “Yes”.
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