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Robert Wilson's Staging of Peer Gynt and the Norwegian Tradition
ROBERT WILSON’S STAGING OF PEER GYNT AND THE NORWEGIAN TRADITION Keld Hyldig The Norwegian Ibsen Tradition The notion of an “Ibsen tradition” in Norwegian theatre basically designates the continuous presentation of new productions of Ibsen’s plays, and, as an essential part of that, the development and maintaining of a psychological realist way of acting. The tradition, however, not only consists in a certain Ibsenian performing style, it also comprises reception of performances. Thus the tradition encompasses practitioners and spectators in a continuous historical process of ‘negotiations’ between conventional and non- conventional modes of expression and reception. The psychological realistic acting evolved step by step from the 1880s among Norwegian actors and actresses through their work with Ibsen roles. In the first decades of the twentieth century this was established as a general ensemble style, to begin with at The National Theatre (Nationaltheatret) in Kristiania/Oslo. This psychological realistic acting style – which can be denoted “the Ibsen Tradition” – constitutes a dominating feature of Norwegian theatre throughout the twentieth century. Of course there have been breaches from this realistic tradition, for example in the 1920s and 1930s with productions inspired by modernist trends in European theatre. And again from the 1970s and onwards till today’s theatre increasing tendencies towards new modes of theatrical expressions can be observed in Norwegian theatre. The Ibsen tradition in Norwegian theatre is so comprehensive that the performance histories of some of the most famous plays can be seen as 1 individual lines of tradition. This counts especially for the performance history of Peer Gynt following an own line of development characterized by national romantic motives. -
Edvard MUNCH
THE OFFICIAL GUIDE FOR OSLO AND SURROUNDING REGION OSLO GUIDE2013 WELCOME TO OSLO The experience starts with us at the Tourist Information Offices No one knows Oslo better than us! We know what’s happening and where, and we are committed to make your stay eventful and fun! We have all the brochures and maps you need to find your way around Oslo. We also offer the Oslo Pass, hotel reservations, city bike hire, tickets for public transport or sightseeing trips, train tickets (including Norway in a nutshell®), currency exchange, gift items and more. www.visitoslo.com Here you will find all the latest information about Oslo, as well as useful tips on how to make your stay in Oslo the best possible. Book your hotel accommodation and tickets for sightseeing, etc., in advance. Contact us at: To Holmenkollen Email: [email protected] Ski Jump & Museum Phone: +47 815 30 555 www.visitoslo.com SLOTTSPARKEN Youngstorget AKERSELVA Kristian IV’s gate Royal www.facebook.com/visitoslo Nydalsveien Palace www.twitter.com/visitoslo Storgata Fredriks gate Stortorvet Oslo S National Karl Johans gate Theatre Stortingsgata Train The Tourist Information Office Station Oslo Tollbugata near Oslo CityTo Vigeland Hall (Rådhuset) City Hall Oslo Park Rådhusgata Opera Fr. Nansens plass 5, House Munkedamsveien Entr. from Roald Amundsens gate Akershus Castle & For opening hours see: www.visitoslo.com Fortress Facebook.com/OsloTouristInformation BJØRVIKA 0 250 M 0 250 YARDS CONTENTS FACTS AND HISTORY 08 ACTIVITIES: WINTER 10 ACTIVITIES: CHILDREN 14 ACTIVITIES: SUMMER 14 SIGHTSEEING 18 MUSEUMS & ATTRACTIONS 22 FESTIVALS - CONCERTS - PERFORMING ARTS 38 GAY OSLO 43 SHOPPING 44 RESTAURANTS AND NIGHTLIFE 48 ACCOMMODATION 60 CONFERENCE INFORMATION 65 THE OSLO REGION 68 USEFUL INFORMATION 70 CRUISE 76 PUBLISHER: VisitOSLO as, Grev Wedels pl. -
Booklet Contain- of Education for Cultural and Intellectual Life, Encompassing Several Genres
HENRIK RUNG (1807–1871) FREDERIK RUNG (1854–1914) 01: SANG AF “PEER GYNT” (H. IBSEN) (03:08) 16: FRA STEMNINGER FRA NORGE, OP. 37 (02:29) XVIII: ANDANTE PIANGENDO, I ASS-MOLL FREDERIK RUNG (1854–1914) 02: FRA STEMNINGER FRA NORGE, OP. 37 (01:13) LARS MØLLER IBSEN (1786–1846) IV: MODERATO E SEMPRE STACCATO E SECCO, I CISS-MOLL 17: VI SEES IGJEN (A.O. HOLDT) (01:29) 18: VISE AF «SILKESTIGEN» (01:51) PETER ERASMUS LANGE-MÜLLER (1850–1926) 19: MINDET (BJERREGAARD) (03:10) 03: EN VAARNAT (J.S. WELHAVEN), OP. 16, 2 (1861) (03:14) 20: ROSER OG KJERLIGHED (M.C. HANSSEN ) (01:48) 04: SPINNERSKEN (BJ. BJØRNSON), OP. 16, 1 (1861) (01:42) FREDERIK RUNG (1854–1914) FREDERIK RUNG (1854–1914) 21: AQUAREL (00:59) 05: FRA STEMNINGER FRA NORGE, OP. 37 (02:25) 22: BERCEUSE (02:04) XVII: ALLEGRETTO – VIVACE MOLTO – ALLEGRETTO – ALLEGRO 23: HUMORESKE 1 (01:20) NON TROPPO – VIVACE MOLTO – ALLEGRETTO, I ASS-DUR 24: FOLKEVISE (01:02) 25: ROMANSE (02:09) HENRIK RUNG (1807–1871) 06: SANG AF «KONGSEMNERNE» (H. IBSEN) (02:05) HENRIK RUNG (1807–1871) 07: UNDRER MIG PAA (BJ. BJØRNSON) (02:44) SEKS SANGER TIL DIKT AV J.S. WELHAVEN 08: I SKOGEN (BJ. BJØRNSON) (03:24) 26: I VEIVISEREN SYNGER (01:51) 09: AFTENSTEMNING (BJ. BJØRNSON) (03:12) 27: II NØKKEN (02:03) 28: III HVILE I SKOVEN (03:01) FREDERIK RUNG (1854–1914) 29: IV PAA FJELDET (02:21) og 10: CHORAL 1 (01:38) 30: V EN VAARNAT (02:12) roser kjerlighed 11: HUMORESKE 2 (01:18) 31: VI I STORMEN (02:25) inspired by norway 12: CHORAL 2 (02:50) 13: DANS (01:09) HALFDAN KJERULF (1815–1868) 32: BARCAROLE OP. -
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. -
LOOKING for IBSEN in MANGFOLDSÅRET: Investigating Processes and Barriers to Multiculturalism in the Norwegian Theatre
LOOKING FOR IBSEN IN MANGFOLDSÅRET: Investigating processes and barriers to multiculturalism in the Norwegian theatre Lixian Cheng Centre for Ibsen Studies Faculty of Humanities, University of Oslo May 2009 TABLE OF CONTENTS PREFACE & ACKNOWLEDGMENTS 2 INTRODUCTION 4 BACKGROUND 11 IBSEN PERFORMANCE IN OSLO, 2008 23 STRUCTURAL BARRIERS: Acting education in Norway 39 CONCLUSION 67 REFERENCES 78 APPENDIX A: Ibsen performances in Oslo, 2006-2008 87 APPENDIX B: Participation in other theatre/Mangfoldsåret activities 96 1 PREFACE & ACKNOWLEDGMENTS Combining the social issue of integration with my studies in Ibsen was by no means a straightforward task. My sociological perspective to a field traditionally dominated by literary scholarship was met with uncertainty many times, not least from myself. Yet the challenging research process of this interdisciplinary study also turned out to be the most engaging and rewarding experience of my academic career. I came into contact with amazing individuals and organizations in the Norwegian theatre who, through unrelenting work, undying passion for the arts, and belief in the possibility for change regarding the theatre scene’s lack of cultural diversity, are in fact creating change. I felt inspired to see that art truly can have a social and political impact. I finish this thesis on Mangfoldsåret or The Norwegian Year of Cultural Diversity, however, at a time when the same government that declared this official year to celebrate Norway’s multiculturalism tightens up exponentially on its immigration and asylum policies. I write at a time when vicious and ultimately constructed debates about so-called snikislamisering in Norway and whether or not police officers should be allowed to wear hijab on the job run abound in the Norwegian media. -
The Summit of Ibsen's Theatrical Career
A CAPRICE – THE SUMMIT OF IBSEN’S THEATRICAL CAREER ELIZABETH SVARSTAD AND JON NYGAARD Jon Nygaard: Professor, University of Oslo. [email protected] Elizabeth Svarstad: PHD candidate, Norwegian University of Science and Technology [email protected] Erik Bøgh’s A Caprice (En Kaprice) premiered 7 September 1859 at the Norwegian Theatre in Christiania (Oslo), staged by theatre manager Henrik Ibsen. The production then ran for another thirty-five performances during the 1859-60 season. In relation to the population of the town, this is by far the greatest box-office success in the history of regular theatres in Norway. No wonder that Michael Meyer understood A Caprice as the ultimate example of the unholy trade Ibsen was forced into as a theatre manager. According to Meyer, in staging A Caprice Ibsen was for the only time in his life “rebuked for truckling to the box-office” (Meyer 1971, 166). The contemporary criticism claimed that Ibsen, by staging A Caprice and other dance performances, was reducing the Norwegian Theatre in Christiania to a kind of amusement park for the lower classes (Morgenbladet Nr. 278, 9.10.1859). Contrary to prevailing opinion, we will in the following present A Caprice as the summit of Ibsen’s theatrical career and underline that both this and other dance productions staged by Ibsen in this period were not at all mere amusement for the lower classes but instead important expressions of artistic creativity and development. IBSEN’S THEATRICAL CAREER Ibsen’s career as a theatre director and later theatre manager at the Norwegian theatres in Bergen and Christiania started unexpectedly and surprisingly all of a 1 sudden in October 1852 and ended in disaster and bankruptcy in June 1862. -
The Intention with This Paper Is to Describe the Establishing Of
IBSEN, BJØRNSON AND THE ART OF ACTING Keld Hyldig Introduction The intention with this article is to describe how Henrik Ibsen and Bjørnstjerne Bjørnson contributed to the development of a modern acting style in Norway. The study is a part of my on-going theatre historical project aiming at giving a general presentation of the Ibsen tradition in Norwegian theatre. The preconditions and basis for development of Norwegian theatre lies in Danish theatre, as this was represented in Norway approx. 1830-50, through Danish touring companies and the Danish theatre in Christiania. In addition, the activities within the Norwegian dramatic societies can also be seen as an important precondition for the later theatre development in Norway. However, the amateur based theatre activities within the dramatic societies, which flourished in Norwegian cities from the 1780s, did in general come to a stop around 1830. The dramatic societies then started letting their theatre buildings to touring theatre companies, mainly Danish. The dramatic societies were important for the establishing of a public sphere around theatre. But when it comes to development of professional acting, is it difficult to see that there should have been any substantial line of connection from the amateur activities in the dramatic societies to the emergence of professional Norwegian acting in the 1850s (Ansteinsson, 1956; Anker, 1968; Broch, 1994). Danish theatre in Norway before 1850, especially the activities at Christiania Theatre, is well documented (Blanc, 1899; Anker 1956, 1968; Schmiesing, 2006 et al.). The documentation, however, consists mainly in registrations of when things happened, what was performed and who performed. -
Iaml – Iasa Congress 8 – 13 August 2004 Music and Multimedia
IAML – IASA CONGRESS 8 – 13 AUGUST 2004 MUSIC AND MULTIMEDIA INVITATION TO OSLO http://www.IAML-IASA-2004.musikk.no We have great pleasure in inviting you to Oslo for a joint IAML - IASA Congress. Our capital has been nicknamed a “cauldron” due to its central location in southern Norway and because it actually is a big melting pot that combines big city life, easily accessible pristine nature, a booming cultural life, living history ..... in short, the promise to satisfy any cultural, professional, gastronomical and social hunger. For the first time since 1996 we will have a joint congress and a joint programme with our sister- organisation, IASA. What is music without sound? Hopefully we will discover we have more in common now than 25 years ago due to easier access to virtual libraries through the Internet. New and interesting topics will be covered. The professional programme will add both knowledge and inspiration to your daily work. You will be able to establish useful contact with colleagues from all over the world. We look forward to welcoming you to Oslo. - 1 - CONGRESS INFORMATION REGISTRATION INFORMATION Registration Registration for the congress will take place in The registration deadline is May 1st 2004. After Georg Sverdrups Hus. that date a higher registration fee will be charged. Registration fee for members of IAML Saturday August 7th – 11.00 – 18.00 or IASA: NOK 1.600,- before May 1st and NOK Sunday August 8th – 09.30 – 17.00 2.000,- after that date. Completed registration Monday August 9th – Friday August 13th - 09.00- form for the congress and accommodation 17.00 (closed Wednesday afternoon) should be sent by mail or fax to: IAML-IASA 2004 Trade display Norsk musikkråd, P.O.Box 440 Sentrum, Georg Sverdrups Hus offers excellent facilities for NO-0103 Oslo, Norway trade exhibitors. -
Torleif Torgersen Fortepiano
PIANO WORKS TORLEIF TORGERSEN FORTEPIANO PSC1305 1 Carl Arnold (1794-1873) Carl Arnold (1794—1873) by Harald Herresthal and Torleif Torgersen 1 Rondeau für Pianoforte über das norwegische Volkslied “Stusle Sundagskvelden” / Rondo for Piano on the Norwegian Folksong “Stusle Sundagskvelden” in D minor.......................................................................4:16 At the end of his life Carl Arnold was regarded as the Main). His father Johann Gottfried Arnold, both an Sonata for Piano No. 3 in A major, Op. 11..............................................................................15:00 “grand old man” and founder of norwegian music. It is accomplished composer as well as an excellent cellist, 2 I Allegro Moderato 8:03 therefore something of a mystery as to how his music performed from time to time with the orchestra of the 3 II Allegretto 6:57 became so neglected and forgotten, not least since his theatre in Frankfurt. Carl received piano tuition from early piano works show both originality and melodic him and appeared for the first time at a concert when Sonata for Piano No. 1 in D minor, Op. 3............................................................................14:30 charm and serve as ample proof of his compositional he was 11 years old. Germany’s major music magazine, 4 I Allegro 4:39 proficiency and of his great pianistic abilities. In the Neue Zeitschrift für Musik, published a 5 II Andantino 5:07 Norway he fell victim to the growing national fervor. complimentary article and foresaw the young man a 6 III Allegro 4:44 The audiences wanted more norwegian-sounding great future. Unfortunately, his father died later the music. In Germany he was also soon out of vogue as he same year only 32 years old. -
Ola Nordal Dal "Between Poetry and Catastrophe"
Doctoral theses at NTNU, 2018:131 al thesis Ola Nor Ola Nordal dal "Between Poetry and Catastrophe" A Study on the Electroacoustic Music Doctor of Arne Nordheim ISBN 978-82-326-3052-3 (printed ver.) ISBN 978-82-326-3053-0 (electronic ver.) ISSN 1503-8181 Doctoral theses at NTNU, 2018:131 NTNU Philosophiae Doctor Philosophiae Department of Music Faculty of Humanities Faculty Thesis for the Degree of the Degree Thesis for ersity of Science and Technology of Science ersity Norwegian Univ Norwegian Ola Nordal "Between Poetry and Catastrophe" A Study on the Electroacoustic Music of Arne Nordheim Thesis for the Degree of Philosophiae Doctor Trondheim, June 2018 Norwegian University of Science and Technology Faculty of Humanities Department of Music NTNU Norwegian University of Science and Technology Thesis for the Degree of Philosophiae Doctor Faculty of Humanities Department of Music © Ola Nordal ISBN 978-82-326-3052-3 (printed ver.) ISBN 978-82-326-3053-0 (electronic ver.) ISSN 1503-8181 Doctoral theses at NTNU, 2018:131 Printed by NTNU Grafisk senter Abstract Arne Nordheim (1931–2010) was Norway’s most prolific composer of electroacoustic music in the second half of the 20th century. His catalogue, which is gathered for the first time in this PhD dissertation, includes 197 compositions in a wide range of styles and instrumental combinations. More than half of these have some sort of electronic component. While Nordheim’s orchestral music has received some musicological commentary, little has been written about his electroacoustic works. This study is the first comprehensive examination of this vital part of his output. -
Operaonthemove.Pdf
Opera on the Move in the Nordic Countries during the Long 19th Century Anne Sivuoja, Owe Ander, Ulla-Britta Broman-Kananen and Jens Hesselager (editors) Opera on the Move in the Nordic Countries during the Long 19th Century ISBN 978-952-5959-45-1 Anne Sivuoja, Owe Ander, Ulla-Britta Broman-Kananen and Jens Hesselager (editors): Opera on the Move in the Nordic Countries during the Long 19th Century DocMus-tohtorikoulun julkaisuja 4 // Docmus Research Publications 4 ISSN-L 2242-6418 ISSN 2242-6418 (printed publication) ISSN 2242-6426 (e-publication) Cover: Tiina Laino Layout: Henri Terho Printed in Unigrafia, Helsinki, Finland 2012 Contents Anne Sivuoja with Owe Ander, Ulla-Britta Broman-Kananen and Jens Hesselager Introduction 7 Voices Juvas Marianne Liljas The Björling ‘Opera’. A children’s Nursery Academy and an Italian Conservatory in Miniature 17 Marianne Tråvén Formed to Perform. Educating Students at the Opera School in Stockholm 1773–1850 50 Ingela Tägil Jenny Lind’s Vocal Strain 83 Theaters Anne Reese Willén Music at the Royal Swedish Opera in Stockholm during the Mid- nineteenth Century . The Musical Repertoire and Contemporary Criticism of the Position of the Opera as a Music Institution within the Musical Life of Stockholm 95 6 Pentti Paavolainen Two Operas or One – or None. Crucial Moments in the Competition for Operatic Audiences in Helsinki in the 1870s 125 Ulla-Britta Broman-Kananen Staging a National Language. Opera in Christiania and Helsinki in the 1870s 155 Performances Joakim Tillman The Introduction of Richard Wagner’s Music Dramas in Stockholm. The Reception of Die Meistersinger and Die Walküre 195 Jens Hesselager Rachel the Jewess in Copenhagen 221 Kristel Pappel Performative Elements and Sources. -
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.