Oslo Internasjonale Oslo Internasjonale Teaterfestival Teaterfestival 09.–18.03. 2017

Editorial 1 Let it go!

Oslo Internasjonale Teaterfestival ­bodies toward emotionality. In has been the pulsing heart of various ­formats and durations, Black Box teater’s Spring season they are allowing themselves to since 2013. Daring, cutting edge make ­emotion tangible, through and surprising, it’s become an soft, contained exposure or by annual rendez-vous for performing assuming it in a glowing, violent arts in Oslo in March. and confrontational manner. There Artists of different generations is vulnerability on display, by the from all over the world, both fami­ artists as well as the spectators, liar names and newcomers, will who are invited to navigate these gather for ten concentrated, vibrat­ sensitive experiences ­subjectively ing days of live art experi­ences, in all their fragility, ambiguity, including several Norwegian­ complexity, guts and glory, premieres. By crossing artistic beauty and sorrow. practices, these artists open up Quoting the Japanese noise a stimulating ­dialogue between musician Keiji Haino from the performing arts, music and visual booklet accompanying his ­album arts, challenging what the art Live 2: “Too long or too short? ­experience can be. That depends on just how your This year, Oslo Internasjonale heart melts.” Teaterfestival will be unfolding Come, join, enjoy and let it go! throughout the city in cultural ven­ It will melt beautifully anyway. ues, intimate spaces and public squares. It’s a way to bring art into – our daily lives and create a poetic Anne-Cécile Sibué-Birkeland relationship to our environment. Artistic and In an unstable political con­ General Director text where the ultra-spectacular reigns, there is a need to claim other forms of expression. Art­ ists are turning their heads and Artist Title Norwegian Premiere Kate McIntosh Worktable (NZ/BE)

Worktable is an ongoing live and working in collaborations with ­installation that contemplates other artists such as Tim Etchells, and completes acts of creation Eva Meyer-Keller, Jo Randerson, and destruction using every day, Lilia Mestre, Charo Calvo, Diederik ­domestic objects. You’re welcome Peeters, and many more. Kate has to visit for a short or long time. directed several short videos and Open for several hours everyday, she was a founding member of the the installation takes place in a Belgian performance collective series of rooms. and punkrock band Poni. She is Once inside you are given a founding member of SPIN: the instructions and equipment so you artist-run production and research can get to work quickly. It’s up to platform based in Brussels. you to decide how things come apart, and how they come back together. You can hack to pieces or dismantle a teacup, umbrella, Concept and realization: Kate McIntosh. alarm clock or newspaper. With an Production: SPIN. Commissioned in the frame of the event ‘Performance Is a Dirty instruction manual under your arm Work’ funded by Roehampton University. – one spectator at a time – you are With thanks to: Bruno Roubicek, Hester on your way to facing up to your Chillingworth, Caroline Daish, Palli Banine, own responsibility. Ant Hampton, Joe Kelleher, Tim Etchells, Adrian Heathfield, Simon Bayly. Kate McIntosh is an artist working across the boundaries of Duration 45–90 minutes performance, theatre, video and according to your own wish. installation. From New Zealand Free entrance, no booking required. Entrance every 15 minutes. and originally trained in dance, she has performed internationally We also present a version for kids, since 1995. Since 2004 she has see page 22. focused on directing her own work including solos, installation work Location Time 3 Grønlands­- March 9–11 leiret 18 March 16–18 14.00–20.00

“There is no doubt there is a strangely therapeutic feeling to reconstituting an object, as if you are apologising to it somehow, and to perhaps everything you have intentionally and unnoticingly broken in your life. The object be­ comes a totem to the potential that we all hold to continue the cycle of destruction and renewal of ideas and objects, with all the pathos and hope that entails”. This is Tomorrow, Contemporary Art Magazine Photo: Kate McIntosh Kate Photo: Artist Title Premiere Mette oslo Edvardsen (NO)

With this new piece, I continue ­presenting her own work inter­ the process of writing that I have nationally since 2002. She is developed in previous works. In currently a research fellow at Oslo the trilogy Black (2011), No Title National Academy of the Arts. (2014) and We to be (2015), I was exploring the possibilities and limits of language and how this ex- tends into real space. The access Created and performed by: Mette Edvardsen. to imagination took place through In collaboration with: Mari Matre Larsen et al. Music composed by: Matteo Fargion. language, and the closeness to Light design: Bruno Pocheron. Produc- the audience developed with the tion assistant: Maya Wilsens. Production: writing. With oslo, I aim at another Mette Edvardsen/Athome, Manyone vzw. way of generating presence and Co-production: Kaaitheater (Brussels), BUDA (Kortrijk), Black Box teater (Oslo), Teaterhuset imagination, where not only the Avant Garden (Trondheim), BIT Teatergarasjen performer on stage is central to (Bergen), Skogen (Gothenburg). Supported what is taking place. This time by: Arts Council Norway, Norwegian Artistic the writing extends into the whole Research Program – Oslo National Academy of the Arts, APAP network (EU) theatre space, multiplying the voices, the actions, the moments, Duration: ca. 60 minutes. the imaginations – the things and the beings. – Mette Edvardsen

The work of Mette Edvardsen is situated within the performing arts, but also explores other ­media and formats such as video, books and writing, with an ­emphasis on their relationship to the perform­ ing arts as practice and situation. She has been developing and Location Time 5 Black Box teater March 9–10 Lille scene 19.00 Photo: Meette Edvardsen Meette Photo: Company Title Lost and Found Different Kinds Productions of Stars (NO)

Searching through dirty swimwear in Things we love: Rock’n’roll, the Lost and Found. A theater piece children’s choirs, green and pink, at its loudest. A time capsule of the Norwegian Theater Academy, NOW NOW. A dance with a stranger. witches, cosplay, teenage rage, pop A birthday song for the newest born. princesses, glitter and people in A lullaby for the POST POST. We general. rewrite the future in menstrual blood – a fortune cookie maybe? star dust, rock star, superstar Choreographic composers and wannabe star wars, porn star, fallen star rock stars: Nikoline Spjekavik and Victoria Fredrikke Schou Røising. Band/performers: star struck, star trek, david star Ulf H. S. Knudsen, Johanna H. Kleive and star fish, star signs, northern star Henry Solstrand. Guiding stars: Magnus all star, sing star, shooting star Børmark, Ulf H. S. Knudsen. Light design/AV/ star light, star tour, christmas star technician: Tim Finset. Helping Hand: Shirley Karlsen. Original music by: Victoria F. S. ringo starr, star map, shining star Røising, Nikoline Spjelkavik and Ulf H. S. star-spangled banner Knudsen. Borrowed: Projected footage by starring me and my best friends Color Trips Animation LLC, Introduction wannabe star, communist star soundtrack by Kerry Muzzey, Space sounds by NASA Space Recordings. Special thanks to: SUPERNOVA (an exploding star Prof. Karmenlara Ely, Dr. Camilla Eeg-Tverbakk, that produces an extremely Dr. Øystein Elle, David Bowie, Pussy Riot, Nick bright light) Cave, Turboneger, mothers, fathers, sisters, brothers, friends and lazy lovers. Supported by: Norwegian Theatre Academy/Østfold Univer- Lost and Found Productions is a sity College Teaterklubb’81, Alveland AS. newborn theatre company run by Victoria Fredrikke Schou Røising Duration: ca. 50 minutes. and Nikoline Spjelkavik. The com­ The performance is followed by the festival pany was founded in 2016 and has opening party. Join! premiered the performances: Rebel Angels, Different Kinds of Stars and Rebel Angels, next level. Location Time 7 Black Box teater March 9 Foyer 21.00 Photo: Bård Halvorsen Bård Photo: Artist Title Tormod Carlsen O – The (NO) Healing Lump

This small one-man-theater is shaped like a shiny lump and Contributors: Tormod Carlsen, Heidi Dalene, works like a healing machine. Anne Sigrid Hveem, Toril Bonaksen, Petter Width, Nina Andreasen, Tessa, Eivind You are invited to embark on a Seljeseth, Mine Yalcin, Michael Finne Riley, ten-­minute healing session, in the Sigmund Carlsen, Anders Firing Aardal, Inga form of an associative journey Aleknaviciute, Øystein Fredheim, Corentin JPM through nature’s wrath. Inside Leven, Mariann Hansen, Gulli Kristina Sexe. Supported by: Arts Council Norway. the lump are a small panoramic theater and a weather machine Duration: ca. 10 minutes. inspired by the panoramic theaters Free entrance, no booking required. of the 18th century and ancient Show up during the opening hours and register at the door. forms of therapy. Seeing everything as land­ scape has been Tormod Carlsen’s longstanding fascination. He has sought out places and contexts marked by paradox ever since he moved to Russia to train as a circus artist after completing his upper secondary education. In settings of contrast and oppo­ sition Carlsen finds the potential to twist a situation. In addition to ­Russia, he has studied theatre at the University­ of Teheran and ­directing at Oslo National Academy of the Arts. As of January 2017 Tormod Carlsen is an associated artist at Black Box teater for a period of two years. Location Time 9 Dælenenga March 10–12 15.00–19.00 Gråbeinsletta March 17–18 13.00–17.00 Photo: Sigmund Carlsen Sigmund Photo: Company Title Norwegian Premiere Kate McIntosh In Many Hands (NZ/BE)

With In Many Hands Kate ­McIntosh dives into the tactile Concept & direction: Kate McIntosh. Light & technique: Joëlle Reyns. and the multi-­sensory, inviting Technical direction tour: Michele Piazzi. the audience to test, touch, listen, Artistic advice: Dries Douibi, Gary Stevens. search and sniff. This project steps Studio assistance: Lucie Schroeder. away from the stage bringing the Drawings: Daria Gatti. Production: Sarah Parolin, Linda Sepp. Production assistance: audience into a series of aesthetic Jana Durnez, Anneliese Ostertag, sensory situations, and inviting Mara Kirchberg. Produced by: SPIN. them to experiment with materials Developed in collaboration with: Arantxa and encounter physical pheno­ Martinez, Josh RutterProduction. Production: SPIN. Co-­production: PACT mena themselves. In Many Hands Zollverein (Essen), Parc de la Villette (Paris), is part laboratory, part safari, part Kaaitheater (Brussels), Vooruit Kunstencen- sensotopia – as it unfolds, visitors trum (Gent), BIT Teatergarasjen (Bergen), take their time to engage and Black Box teater (Oslo), Schauspiel Leipzig, far° festival des arts vivants (Nyon), House on Fire ­explore as they wish, following Network (EU), and the Open Latitudes their noses and curiosities. As Network (EU). Supported by: Vlaamse always, Kate’s work is guided by Gemeenschap, Vlaamse Gemeenschaps­ her constant fascinations with commissie, Nationales Performance Netz (NPN), Pianofabriek kunsten­werkplaats the misuse of objects, playfulness (Brussels), Tanzfabrik (Berlin). SPIN is structur- with the audience and an off-beat ally supported by BUDA Kunstencentrum for humour. the period 2013-2016. Thanks to: Tom Kate McIntosh has an on­- Bruwier, Martin Pilz, Andrea Parolin.

­going curiosity to bodily involve Duration: ca. 90 minutes. an audience,­ and to imagine a social space where individuals might explore their own agency as well as a communality. In Many Hands wades further into these experiences. For more information on Kate McIntosh, see page 2.

Location Time 11 Black Box teater March 10 Store scene 17.00 and 21.00 March 11 16.00 and 19.30 Photo: Mandy Lyn Photo: Photo: Kate McIntosh Kate Photo: Company Title Norwegian Premiere Meg Stuart/ Until Our Damaged Goods Hearts Stop (US/BE)

In Meg Stuart’s new production, six performers and three musi­ Choreography: Meg Stuart. Created with cians find themselves in a place and performed by: Neil Callaghan, Jared ­Gradinger, Leyla Postalcioglu, Maria F. ­Scaroni, that is both a nightclub and an are­ Claire Vivianne Sobottke, Kristof Van Boven. na: an unreliable, high-octane ref­ Dramaturgy: Jeroen Versteele. Live music by: uge, a place of desire and illusion. Samuel Halscheidt , Marc Lohr, Stefan ­Rusconi. To the sound of throbbing basses, Original music created by: Paul Lemp, Marc Lohr, Stefan Rusconi. ­Scenography: Doris piano and drums – a mix between Dziersk. Costume ­design: Nadine Grellinger. improvisation and composition – Light design: Jurgen Kolb, Gilles Roosen. they make optimistic attempts to Assistant choreography: Francisco Camacho. meet impossible deadlines. Assistant scenography: Giulia Paolucci. Assistant costume design: ­Davy van Gerven. After taking her own artistic Artistic assistant: Igor Dobricic. Technical and personal biography as a direction: Oliver Houttekiet. Stage manager: starting point for her solo work Jitske Vandenbussche. Sound: Richard König. Hunter (2014), Meg Stuart now Light: Gilles Roosen. Stage technician: Bart Van Bellegem. Dresser: Patty Eggerickx / draws inspiration from people Emma Zune. Tour manager: Annabel Heyse. who retreat from the real world Production manager: Sabrina Schmidt. Dedi­ and construct their own, fantastic cated to: Paul Lemp, friend and musician of set of rules. The performers are Meg Stuart/Damaged Goods. Production: Damaged Goods & Münchner Kammerspiele. ‘freaky insiders’, forced to connect Co-production: PACT Zollverein­ (Essen), Ruhr- in uncomfortable, yet playful ways. triennale – Festival der Künste. Supported by: Navigating between naivety and The Government of Flanders and the Flemish despair, they are dreamers who Community Commission. long for reality. In a world in which In collaboration with Dansens Hus. they fade away and disappear, they feel the urge to seek new forms of Duration: ca. 120 minutes. appearance.

“An evening, crazily silly, unbridled and magical!” KWest Location Time 13 Dansens Hus March 10–12 19.00 Photo: Iris Janke Photo: Company Title Simen Korsmo A Tribute Robertsen to Now (NO)

We are living in a culture entirely A Tribute to Now is part of a hypnotized by the illusion of time, series of interdisciplinary, artistic in which the so-called present explorations initiated by Simen mo­ment is felt as nothing but an Korsmo Robertsen related to the infinitesimal hairline between an notion of presence. all-­powerfully causative past and an Robertsen is a trained jazz absorbingly important future. We have ­pianist working in the expanded no present. Our consciousness is field of choreo­graphy, music and almost completely preoccupied with performance art. His artistic work memory and expectation. We do not is characterized­ by explorations realize that there never was, is, nor of meetings between movement, will be any other experience than space, sound and people. He present experience. received his education at the –Alan W. Watts Norwegian Academy of Music and is currently a master student in The performers will not aim to choreo­graphy at Oslo National seduce. Nor will they strive for some­- Academy of the Arts. thing more complete than what already is. They will endeavor to refrain from judgments, expectations and analysis while performing, and Performers: Louis Schou-Hansen, Simen instead listen carefully to the material Korsmo Robertsen + TBA Thanks to: Anne- Grete Eriksen, Janne-Camilla Lyster, Bjørn being created. Kruse, Ingunn Rimestad, Per Roar, Thorsnes By emphasizing the materiality and Bojana Cvejic of the abstract expression of sound and dance, the performance ques­ Duration ca. 30 minutes. tions our collective awareness in a time in which we seem to be losing touch with the present moment. How can the performative arts affect our relationship­ to time? Location Time 15 Black Box teater March 10 and 17 Basement 23.00 March 11 and 18 22.00 Photos: Istvan Virag Photos: Istvan Event Time Seminar: March 11 The Political in 10.00–15.30 Live Arts March 12 11.00–15.00

Europe is unraveling, rightwing extremists and nationalists are Initiated by: Valborg Frøysnes and Ingri gaining traction, thousands upon Midgard Fiksdal in cooperation with Black Box teater. Supported by: Fritt Ord thousands are drowning in the Foundation, FFUK. Mediterranean, war is ravaging Syria for the sixth straight year, Saturday March 11, 10.00–15.30 fences and walls are being built Black Box teater foyer, talks and conversations. along borders, the public sphere Sunday March 12, 11.00–15.00 is withering, reality TV-stars are Oslo National Academy of the Arts, ascending the heights of power, further discussion and analysis. and clowns (literally) are winning You may attend Saturday or both Saturday elections. and Sunday. This is the backdrop for the seminar on the political in live arts. For details about the program and speakers The seminar will investigate how see blackbox.no the theatre (live arts), what Hannah Arendt once referred to as “the political art par excellence”, relates to its own time, and how the politi­ cal in live arts is understood today. Directors, performers, choreo­ graphers, playwrights, artists, theorists, writers and journalists have been invited to hold talks, discuss and debate in a wide- ranging conversation with each other and the audience.

17 Company Title Norwegian Premiere Nina Santes Self Made (FR) Man

Self Made Man is a polyphonic Nina Santes made her stage score for a lonely self-taught debut as a puppeteer. She is a ­person. It’s the birth of a language, dancer and choreographer. In a language of survival by re­ 2006 she joined the company creating the self. It’s the slow and Coline and danced pieces by Odile progressive realization of a deep Duboc, Jean-Claude Gallotta and utopia. It’s about construction, Michel Kéléménis. Since 2008, she destruction and reconstruction: has been collaborating with many of the body, sound, images and different artists as well as making identity. Of a home and a relation her own projects. to this world. In Self Made Man, Nina Santes interlaces movement, talking, singing and the construction of Concept and creation: Nina Santes. Stage scenography in real time. In articu­ Design: Celia Gondol. Light Design: Annie Leuridan. Musical assistant: Thomas Terrien. lating these multiple practices, Vocal assistant: Olivier Normand. Feedback: she is considering the stage as Kévin Jean, Mylène Benoit. Production: La the site of a possible handcraft, as Fronde. Co-production: L’échangeur CDC an open manufacturing studio. A Picardie, Théâtre de Vanves. Partnership: L’échangeur CDC-Picardie, le CDC - Toulouse, free, blank space, dedicated to the Micadanses, le CND-Pantin. Supported by: making, directed by the intuitive Onda, DRAC Ile-de-France in the frame of spirit of a self-taught handyman. “Aide au Projet 2014”, Arcadi in the frame of A worksite for one body and one “Aide à la diffusion” and Spedidam. space, Self Made Man celebrates Duration: ca. 60 minutes. the fragile balance between the time of making and the time of contemplation. Location Time 19 Black Box teater March 11 Lille scene 17.30 Photo: Annie Leuridan Photo: Event Title Festival Club Dazzle & Bling and Bar

DJ duo Truls & Rodrigo (Truls Foss and Daniel Rodrigo Nilsen) are not unfamiliar to Black Box teater. With their new concept Dazzle & Bling they will transform the theater into the only place to be for indecent dancing and unceremonious meetings. Dazzle & Bling means high quality music in the genres of hiphop, trap, indie-pop, funk and guilty pleasures / nostalgic hits. Truls & Rodrigo promise to give you an evening not unlike that oddly pleasurable feeling you get when you stick your finger a little bit too far up your anus in the shower. Let´s Dance!

– The bar at Black Box teater is open during the entire festival. Meet friends and new friends, ­colleagues and artists for a drink and a nice chat. We serve good music, drinks and light food. ­ Special DJ-set by Monica from Kanariklubb on Friday March 17. Welcome!

Location Time 21 Black Box teater March 11 Foyer March 18 21.00 Company Title Norwegian Premiere Kate McIntosh Worktable (NZ/BE)

This work desk is pretty special. In it, we invite you to smash or Concept and realization: Kate McIntosh. dismantle ordinary objects like a Production: SPIN. Commissioned in the frame of the event ‘Performance Is a Dirty toy or a watch. These are objects Work’ funded by Roehampton University. you probably see around you every With thanks to: Bruno Roubicek, Hester day, but today they will be at your Chillingworth, Caroline Daish, Palli Banine, disposal. Prepared with safety Ant Hampton, Joe Kelleher, Tim Etchells, Adrian Heathfield, Simon Bayly. gloves and various types of tools, you can use all your strength or Duration 45–90 minutes all your delicacy to, for example, according to your own wish. ­separate the various parts of an Free entrance, no booking required. Entrance every 15 minutes. umbrella or a toy. Nothing in this living installation can remain Suitable for kids from 6 years. ­intact! But do not think that we are here just to dismantle, because We also present a version for adults, see page 2. each piece will gain a new life ­ with your help. For more information on Kate McIntosh, see page 2.

Location Time 23 Grønlands­- March 12 leiret 18 12.00–18.00 March 13–15 16.00–19.00 Photo: Kate McIntosh Kate Photo: Company Title Mårten Digital Spångberg: Technology (SE)

I don’t want to know what this Mårten Spångberg is a choreo­ thing is all about. A little trip that grapher living and working in I do with the audience. Together ­Stockholm. His interests concern we can perhaps figure out what’s choreography in an expanded between the lines and move on in field, something that he has ap­ small dances, a bunch of objects proached through experimental that animate themselves in com- practices and creative processes panionship with me. It’s a little in a multiplicity of formats and like talking about a book that we expressions. Recent large-scale all read but really long ago and works include Natten and La remember different things and now Substance, but in English, both of they are played again, in front of us which have been shown at Black but more inside and there is also Box teater and have toured inter­ a quite slow film. A film – like the nationally to rave reviews. piece – that’s there more like the As of January 2017 Mårten television left on without sound. Spångberg is an associated artist I like television sets that sit there at Black Box teater for a period without anyone looking. I imagine of two years. that that’s the time when the TV really enjoys itself, appreciating the images and sequences­ for what they are and not what they show. With and by: Mårten Spångberg. I have a friend whose name is With a film by: James Benning. Supported by: The Swedish Art Council, Juan Domínguez. It’s a name with The Swedish Arts Grants Committee. really nice flow and in the end we Co-produced by: MDT Stockholm, PAF. eat ice cream together without speaking too much. That’s so Duration: ca. 90 minutes. sweet, to enjoy something really good and in silence. If you wait for a while, it is possible to just show up. –Mårten Spångberg Location Time 25 Kunstnernes March 12–14 Hus 17.00 Photo: Melanie Matjö Photo: Company Title Norwegian Premiere Jaamil Olawale #negrophobia Kosoko (US)

With #negrophobia, Jaamil ­Olawale Kosoko examines the Creation, Concept and Installation: erotic fear associated with the Jaamil Olawale Kosoko. Performance: IMMA, Jeremy Toussaint-Baptiste, Jaamil Olawale Black body inside the context of Kosoko. Set: Kate Watson-Wallace and Jaamil the contemporary American Olawale Kosoko. Costume: Jaamil Olawale project.­ #negrophobia reveals Kosoko and IMMA. Sound Design: Jeremy contra­dictory feelings of desire Toussaint-Baptiste and Jaamil Olawale Kosoko. Sound Engineering, Video & Technical and fear, and references issues Support, Sonic Accompaniment: Jeremy related to grief, misogyny, trans Toussaint-Baptiste.­ Lighting design: Sarena identity, and Black patriarchal con­ Wong. Stage Manager and Lighting structs of masculinity. Together Assistant: Jonathan Gonzalez. Dramaturgy: Mersiha Mesihovic. Video design: James with model, per­formance artist Doolittle, Jeremy Toussaint-­Baptiste and Jaamil and dancer IMMA, and composer Olawale Kosoko. Jeremy Toussaint Baptiste, Kosoko ­presents a work that is both Duration: ca. 75 minutes. performance, lecture and ritual. Originally from Detroit, Jaamil Olawale Kosoko is a Nigerian-­ American curator, producer, poet, choreographer, and per­ formance artist currently based in ­Philadelphia and New York City. His work in performance practice is rooted in a creative mission to push history forward through writing and socio- political art making.

Location Time 27 Black Box teater March 12 Store scene 19.00 March 13 21.00

”a bold and bounding work… #negrophobia is a play that needs to be seen.” New York Theatre Review

”Mr. Kosoko transformed the concrete space into a tumul­tuous shrine to dead black men, ­including his brother, to whom the show is dedicated.” The New York Times

“the prolific Nigerian- American poet, curator, choreographer and performance artist’s new show explores the erotic fear associated with the black male body.” Wall Street Journal

“A foray into the dramatic and vulnerable elements of identity” Interview

Photo: Dajana Lothert Company Title Kristinsdottir/ Synkehull Willyson (NO)

One evening in 2013, Jeff Bush, an Kristinsdottir, Willyson, Børmark ordinary man living in Florida, was and Borchgrevink have previously lying in his bed when the earth worked together on the perfor­ opened and swallowed him alive. mance Forbrytelse og straff A sinkhole had formed right under (Crime and Punishment), the last the bedroom floor, and in the end part of the theater trilogy Classics the surface burst. The attentive for Kids. Floridian might have noticed the As of January 2017 Hildur tiny cracks in the woodboards and Kristinsdottir is an associated how the steps, from the door to the artist at Black Box teater for a sofabed, had begun to resonate period of two years. in a sinister way. But Jeff hadn’t noticed – maybe because some­ thing else was on his mind. Maybe he was dreading life. Or Concept, text and performers: Hildur stagnation. Maybe he was search­ Kristinsdottir and Eirik Willyson. Composer and performer: Magnus Børmark. Light and ing for himself and his inner voice. performer: Anders Borchgrevink. Outside Maybe he was convinced that if he eyes: Ida Gudbrandsen, Lisa Lie, Signe Becker dug deep enough into this subject and Saila Hyttinen. Photo and documenta- matter, he would find the real Jeff tion: Kristinn Gudlaugsson and Damon Chan. Supported by: Arts Council Norway, FFUK Bush, and with that, the reason for and Dramatikkens hus. his nightly pain. In Synkehull (Sinkhole) the Duration: ca. 90 minutes. audience is invited to enter differ­ ent kinds of holes. The aim is to find new, sustainable strategies for handling fear and anxiety, and possibly a bit of hope as well. After all, a hole is an opening! Location Time 29 Black Box teater March 12 Lille scene 21.00 March 13 19.00 Photo: Kristinn Gudlaugsson Kristinn Photo: Photos: Anders Borchgrevink Photos: Anders Company Title Norwegian Premiere Hafkenscheid/ Songs from a Castilla/Biong Valley of Love (BE/ES/NO) and Delight

Songs From a Valley of Love and Albert Doody, Margaret Lockie, Delight explores the beauty, mys­ David Lockie, Glenda Crooknorth tery and the contradictions of the and Rudolf Rutschmann, who have utopia of holiday, and presents all exchanged a life in the north for songs based on interviews with a life in the south. The first part of tourists and seasonal immigrants the project, the installation Syden, that have left the north in favor of was presented at Oslo Inter­ the south. nasjonale Teaterfestival in 2016. Songs From a Valley of Love and Delight is a part of the ongoing­ project Syden, which explores the concept of displace­ A collaboration between: Pablo Castilla, ment through the existing idea of Niko Hafkenscheid and Hedvig Biong. Performed by: Mariza Ruppmann, Marianne Syden (meaning “South”). Syden Suter, Albert Doody, Margaret Lockie, refers to a created holiday-land David Lockie, Glenda Crooknorth and with sun and beaches, a mental Rudolf Rutschmann. Co-produced by: and physical place where happi­ Kaaitheater (Brussels) and Workspace­ brussels. Supported by: Vlaamse Gemeen- ness and relaxation can be found. schapscommissie, Black Box teater (Oslo) Tourism has the potential to be a and GST Foundation. mental space for freedom, where humans can explore themselves in Duration: ca. 45 minutes. a different environment free from the constraints of daily life. Songs From a Valley of Love and Delight questions what is needed for a happy life and where to find it. The project is a collaboration between Pablo Castilla, Niko Hafkenscheid and Hedvig Biong. It will be performed by Mariza Ruppmann, Marianne Suter, Location Time 31 Black Box teater March 14–15 Lille scene 19.00 Photo: Hedvig Biong and Pablo Castilla Hedvig Biong and Pablo Photo: Company Title Lisa Lie /PONR I Cloni (NO)

In I Cloni Lisa Lie asks if there exists­ live it. The stage is transformed into a death after life. We are at the inn, a site where everything is vital at all a place between life and death times, where the abstract and irra­ where strangers meet and share tional is taken seriously and where everything simply because they are hallucinations arise from the collec­ strangers and there are no conse­ tive subconscious and our shared quences. I Cloni takes us on a jour­ history. The compositions can be ney past the edge of the real world considered temporary sculptures where everything dissolves but or bodies, in which the audience everyone continues to talk. I Cloni becomes part of the cycle. continues deeper into the heart of the absurd landscape of Blue Motel. The doors are now open, transpar­ ent to all the evil in the world. Concept and direction: Lisa Lie. Text: Lisa Lisa Lie is a critically acclaimed Lie/PONR. Scenography and costumes: Maja and award-winning author, director Nilsen. Lighting design: Kerstin Weimers. Sound: Christoffer Karlsson. Sound techni- and performance artist from Trond­ cians: Magnus Børmark and Oscar Udbye. heim. Pony of No Return (PONR) is Producer: Aurora Kvamsdal, Emily Luthentun. a platform for Lie to invite different On stage: Ivar Furre Aam, Kenneth Homstad, artists into the work according Helga Kristine Edvindsen and Lisa Lie. Dramaturg: Elin Amundsen Grinaker. Extra: to need and interest. Lie draws Sissel Lie. Masks: Magnhild Kennedy. Stage upon choreographic and musical texts: Ragnar Sletten. Outside eyes: Henriette approaches to composition. Her Pedersen, Julie Moe Sandø. Photographer: works are dramaturgically multi­ Kjell Ruben Strøm. Co-production: Black Box teater (Oslo), Teaterhuset Avant Garden layered, with different narrative (Trondheim), BIT-teatergarasjen (Bergen) and threads working simultaneously. Dramatikkens hus (Oslo). Supported by: Arts Lie works with the idea of the medi­ Council Norway, Fond for frilansere, Fond for eval carnival, described by Bakthin utøvende kunstnere, Dramatikkens hus, Oslo kommune, Trondheim kommune, Fond for lyd as the “other life of the people”. og bilde and Norsk Skuespillersenter. You can’t be a mere spectator to the medieval carnival – you have to Duration: ca. 150 minutes. Location Time 33 Black Box teater March 14 Store scene 21.00

“I Cloni is like a surprise gift that continues to amaze long after it has been unwrapped”. Dagbladet

“The strength of this performance is to me its ability to create images and the playful and naive way it handles theatrical conventions”. Klassekampen

Photo: Kjell Ruben Strøm Company Title Premiere Findlay// >>returner<< Sandsmark (US/NO)

“(…) there is always a beginning backward glance, to get at some Created by: Iver Findlay and Marit Sandsmark, experience, or memory of an expe­ together with Pål Asle Pettersen (sound artist), Brendan Dougherty (musician), Joey rience, or sensation around a way Truman (performer and text), Victor Morales of being in the world, maybe a way (video), Philip Bussmann (set), Bill Morrison that is lost, or never quite existed (film), Gregory Beller (sound), Jean-Vincent to begin with,” writes Claudia La Kerebel (light). Co-production and production support: BIT Teatergarasjen (Bergen), APAP Rocco about the work of Findlay// network (EU), Black Box teater (Oslo), RIMI/ Sandsmark. Black Box teater pre­ IMIR Scenekunst (Stavanger), Collapsable sented returner (early version) in Hole (New York). Supported by: Arts Council a process viewing last autumn. Norway, Stavanger kommune, Rogaland fylkes- kommune, FFUK. Iver Findlay, Marit Sandsmark and Pål Asle Petersen, together Duration: ca. 90 minutes. with their extensive team, are now back with us for the premiere of the latest version. >>returner<< oscillates between different states and ­qualities of presence, while searching for moments of alchemy when differences dissolve into unexpected sensations. The piece is a continuation of the collaborative processes of Findlay//Sandsmark, in which works develop in variations and by combining installation and live performance with a strong physi­ cal and choreographic sensibility. Location Time 35 Black Box teater March 15–16 Store scene 21.00 Photo: Findlay //Sandsmark Findlay Photo: Company Title Premiere Verk Come as Produksjoner You Are (NO)

Come as You Are is inspired not The artists of Verk produk­sjoner only by the rock band Nirvana, are known for their epic and but by a preface explaining how vaudevillesque form of acting with to read the philosopher Spinoza satirical and political undertones by “coming as you are”. In other changing swiftly between story­ words, an open invitation to allow telling, acting and improvisation. yourself not to understand every- Their approach has always been thing, but let go, get lost and find to open up for all the possibilities your way back again. of the work, mixing different styles Stripping everything down and approaches that establish a to the bones, revealing the strong connection with the ­expressive power of imitation and audience and a solid sense of simple gestures. We are searching here and now. for the small moments of joy: the joy in repetition, the joy in patterns, the joy of finding connec- tions and the joy of imitating other By and with: Verk Produksjoner. people. Simply put, a panorama of Photo and video: Camilla Jensen. Supported by: Arts Council Norway unconcealed­ joy. and Dramatikkens Hus. It’s a wish to exhibit simple human behavior: playing, show- Duration: ca. 90 minutes. ing, sliding, dancing. Exploring our shortcomings, our faults, our ­desires and, not least, our love. We want the situation, the body at work, to be not only a representation of a narrative, but the ­narrative itself. –Verk Produksjoner

Location Time 37 Atelier Nord March 16–18 17.00 Photo: Verk Produksjoner Verk Photo: Company Title Norwegian Premiere Farid Fairuz Realia (RO) (Bucharest– Beirut)

Realia (Bucharest–Beirut) is a per­ Until he reinvented himself as formance that combines temporal Farid Fairuz and assumed a fic­ layers, real and fictional events tional biography, the artist Mihai from the life of a character that Mihalcea was one of the most simultaneously has two identities: active in the field of contemporary Mihai Mihalcea, born in Bucharest, dance in Romania after 1989. and Farid Fairuz, born in Beirut. He has initiated and been part of The dramaturgy is built upon the many projects that have led to tension created by a construct that the international recognition of mixes very personal and powerful Romanian contemporary dance. memories from Bucharest with fictional elements from Beirut, and the other way around. In Realia (Bucharest-Beirut), Farid Fairuz Artistic direction and performance: questions the frail border between Farid Fairuz. Text, costumes and set design: Farid Fairuz. Music: Dhafer Youssef, Brent the real and the fictional, thus Lewis, Karpov not Kasparov, P. I. Ceaikovski, emphasizing a discourse based on Margareta Paslaru. Technical support: the construction of multiple iden­ Mircea Andrei Ghinea. Production: Solitude tities. His approach underlines the Project & Caminul Cultural. Project financed by: The National Cultural Found. ability of today’s culture to impose Supported by: Colectiv A. the unreal and the fictional as realities, as components of a realm Duration: ca. 80 minutes. in which the lines between the possible, the virtual and the real no longer function as they once did. Farid Fairuz took the Romanian cultural scene by storm in 2010 with his critical performances on capitalism, sexuality, cultural pro­ duction and religion that sharply mirror failures of the local society. Location Time 39 Black Box teater March 16–17 Lille scene 19.00 Photo: Claudiu Popescu Claudiu Photo: Event Time Book launch March 17 POSTDANCE 18.00

POSTDANCE was a conference initiated by André Lepecki, Danjel Andersson and Gabriel Smeets. The conference was held at MDT in­ Stockholm, 14–16 October 2015. It derived from the desire to talk and think about current and ongoing tendencies in the fields of dance and choreography and their tradi­ tions. POSTDANCE was not an ex­ isting term or a borrowed concept; it is rather a container. The aim was to keep this non-concept open source and make a reversed conference. Instead of saying what POSTDANCE Supported by: Cullbergbaletten and Life Long Burning – with project support is, a wide range of thinkers, makers, from the European Commission, Swedish writers, curators and others from the Art Council, Stockholm City Culture, fields of dance and choreography The Swedish Arts Grants Committee. were invited to fill the container, keeping it open and urgent. What if POSTDANCE were a book? Soon, it will be. Three of the conference attendees, Mette ­Edvardsen, Mårten Spångberg and Danjel Andersson, have acted as a precarious editorial board and invited more thinkers to fill the open container. Some of the texts and thoughts in the book come directly from the conference and some are new. Event Time 41 Roundtable & March 18 Debate: 14.00–16.00 Participation and Spectatorship

Different notions of audience How can we move beyond ­participation have been circulating polarization and explore artistic in contemporary live arts and the approaches to the position and ­visual arts for a number of years, potential of the audience in art ­often giving rise to differing opin­ and performance? The aim of this ions. Some see participation as Roundtable & Debate is to open a inherently positive, while others space for this critical exploration. question the risk of political instru­ For further information, see mentality or the blurring of artistic blackbox.no. and social concerns and experi­ ences. Between these polarized reactions lies a rich complexity of artistic choices, forms and expe­ riences that include the audience both conceptually and concretely. Participation is a vital compo­ nent to many of the works featured in the festival program. Some works convey the fragility, beauty and messiness of collectivity and co­operation, while in other works participation arises from a set of artistic interests.

Illustration loosely based on the Atelier Populaire 1968 poster Je participe, tu participes …. Company Title Norwegian Premiere Christopher This is How Brett Bailey We Die (UK)

A motor-mouthed collage of ­spoken word and storytelling with Written and performed by: Christopher tales of paranoia, young love and Brett Bailey. Sound design: George Percy and Christopher Brett Bailey. Musicians: ultra-violence. From the desk of George Percy, Alicia Jane Turner and Apollo. Christopher Brett Bailey comes a Dramaturg: Anne Rieger. Lighting design: spiraling odyssey of pitch-black Sherry Coenen. Production Manager: Alex humour and nightmarish prose. Fernandes. Produced by: Beckie Darlington. Commisioned by: Ovalhouse. Supported by: With echoes of Lenny Bruce, Arts Council Endland, the Basement, Cam- William Burroughs, beat poetry bridge Junction and Norwich Arts Centre. and B-movies, This Is How We Die is a prime slice of surrealist Duration: ca. 70 minutes. trash, an Americana death trip and a dizzying exorcism for a world ­convinced it is dying. Christopher Brett Bailey is a “An absurd road movie of the writer, performer and experimental soul cut with a razor wit and theatre maker. He is also a com­ bubbling paranoia” poser and performer of music. The ★★★★ multi award winning show This The Guardian Is How We Die is a torrent of lan­ guage, a caustic firework of poetry, “Blisteringly brilliant” humour and storytelling set inside ★★★★ a sumptuous lighting design. The Scotsman

★★★★ Exeunt

“a visceral, world-burning piece of theatre (…) a brutal, vital, incredible show” Total Theatre Location Time 43 Black Box teater March 17 Store scene 21.00 Photo: Claire Haigh Claire Photo: Photo: Jemima Yong Photo: Company Title Norwegian Premiere Ivo Dimchev Songs from (BG) My Shows

With his bold and provocative work and striking voice, Ivo Dimchev With: Ivo Dimchev. Piano: Dimitar has conquered European stages in Gorchakov. Cello: Magdalena Petrovic. Drums: Bogomil Enchev. recent years. In addition to being a critically acclaimed performer, Duration: ca. 80 minutes. Ivo Dimchev is also a great musical talent. In Songs from My Shows, The performance is followed by the festival closing party. Join! he gives live performances of the original musical numbers from his shows over the past ten years. Separated from their original ­context, these songs shine brightly when presented as independent, individual opuses. Ivo Dimchev is a Bulgarian choreographer and performer. His work is an extreme and color­ ful mix of performance, dance, theater, music, drawings and photo­graphy. He has received numerous awards and presented his work all over Europe, South America and North America. He has performed at Black Box teater on several occasions with works such as X-On and P project.

Location Time 45 Black Box teater March 18 Store scene 19.00

2 Uelands gate Uelands

Sannergata

6 8

4 Toftes gate Toftes

Ullevålsveien Olaf Ryes plass n ie e v 5 s im e h d n o 3 Tr 1

Hausmannsgate

The Royal Castle

Nationaltheatret Karl Johans gate

Oslo City Hall Grønlandsleiret Oslo Central Station 7

The Opera House Venues 3–6 are all 47 Locations within walking distance from Black Box teater

1 Kunstnernes hus Tram 11, 17, 18 Wergelandsveien 17 to Holbergs plass kunstnerneshus.no

2 Gråbeinsletta Bus 20, 37, 54 and 34 Park near Sagene bus stop / to Sagene Kierschows gate 2

3 Dansens Hus Tram 11, 12, 13 Vulkan 1 to Schous plass dansenshus.no

4 KHiO / National Tram 11, 12, 13 Academy of the Arts to Birkelunden Fossveien 24 khio.no

5 Atelier Nord Tram 11, 12, 13 Olaf Ryes plass 2 to Olaf Ryes plass ateliernord.no

6 Dælenenga bus stop Bus 30 to Dælenenga Park near Black Box teater/ Tram 11, 12, 13 to Birkelunden Fagerheimgata 12 Bus 20, 21 to Københavngata

7 Grønlandsleiret 18 Bus 37 to Tøyengata Metro 1–5 to Grønland

8 Black Box teater Tram 11, 12, 13 to Birkelunden Marstrandgata 8 Bus 30 to Dælenenga blackbox.no Bus 20, 21 to Københavngata Tickets and practical info

Buy your tickets here: For group requests, • www.ticketmaster.no contact us on Phone +47 815 33 133 [email protected]

• Posten, Narvesen or 7-Eleven. The following are free: • Kate McIntosh: Worktable, • Box office at Black Box teater: Worktable for Kids Open every day during the • Tormod Carlsen: festival from 14.00 to 22.00. O – The Healing Lump • Seminar: The Political in Live Arts • Venue ticket sales: Open one hour • Book launch: POSTDANCE prior to showtime unless the • Roundtable & Debate: performance is sold out. Participation and Spectatorship • Festival Club • Tickets for Meg Stuart/ Damaged Goods: Until Our Festival Bar Hearts Stop are only available The bar at Black Box teater is open through dansenshus.com during the entire festival. It opens one hour before the performances Ticket Prices and events taking place at Black Festival package 5 for 500: Box teater. Five performances of your choice Meet friends and new friends, NOK 500 ­colleagues and artists for a drink and a nice chat. We serve good Single Tickets: music, drinks and light food. ­ NOK 250/150 Under 25 years old: NOK 100 Information Festival info desk in the foyer Double ticket for March 9 at Black Box teater: Mette Edvardsen + Open every day during the festival Lost & Found Productions: from 14.00 to 22.00. NOK 300 / 200 Phone +47 23 40 77 79 Team Editor-in-chief: Artistic and General Director: Anne-Cécile Sibué-Birkeland Anne-Cécile Sibué-Birkeland Editorial team: Melanie Fieldseth, Dramaturg: Melanie Fieldseth Magnus Salte, Anne-Cécile Head of Administration: Magnus Salte Sibué-Birkeland, Sara Wegge Producer: Karoline Bjune Design: Peder Bernhardt Head of Communication: Sara Wegge Print: Nilz & Otto Graphic Designer: Peder Bernhardt Edition: 1000 Head of Technical Department: Jean Vincent Kerebel © Black Box teater 2017 Sound Manager: Trond Johnsrud Black Box teater Freelance technical department: Marstrandgata 8, 0566 Oslo Harald Bjerke, Kim Atle Hansen, Phone: +47 23 40 77 70 Tanguy Nédélec, Linda Nikolaisen, Marcus Torjussen. [email protected] Frontline and Bar Manager: Morten Kippe blackbox.no Frontline and bar: Veronica Molin Bruce, Mari Edvardsen, Ida Holthe Lid, Daniel facebook.com/ Rodrigo Nilsen, Ida Marie Sandvik, oslointernasjonaleteaterfestival Annlaug Selstø, Talette Simonsen, #oslointernasjonaleteaterfestival Runa Skolseg, Andrea Skotland, Kjersti @blackboxteater Aas Stenby, Åsne Storli, Solveig Wiig. #blackboxteater Distribution: Janne Mikkelsen

The team joining for the festival: Production: Andrea Skotland, Solveig Holthe Bygdnes, Jorunn Kjersem Hildre, Morten Kippe. Communication: Ida Holthe Lid. Frontline and bar: Vivel Fredriksen, Elisabeth Gmeiner.

Thank you to the freelance technicians and all the volunteers.

We would like to thank our local partners Dansens Hus and Kunstnernes Hus. 09.–18.03.09.–18.03. 2017 2017Oslo Internasjonale Teaterfestival InternasjonaleTeaterfestival