Bima and Bramati

Premiere7. aug 2004
CoprodusenterTraverse Theatre, Det Åpne Teater
Basert påHerr Bima og herr Bramati av Tord Akerbæk
UttrykksformerTeater, Absurd teater, Kammerspill, Komedie
Spilleperiode7. aug 2004  
Spilletid75 minutter
NettstedDet Åpne Teater, Traverse Theatre

Om Bima and Bramati

Bima and Bramati av Tord Akerbæk var en teaterforestilling av og med Traverse Theatre og Det Åpne Teater, i regi av Franzisca Aarflot. Den hadde premiere på Edinburgh Fringe Festival i august 2004.

I Bima and Bramati legger to tilfeldige korridorkamerater på et sykehjem ut på en eksistensiell ekspedisjon. Målet er vinduet ved enden av korridoren. Midlene er stjålne sukkerbiter og en forskrudd fantasi. Det kan så være at de er aldrende og amputerte, og at de er koblet til ledninger for å overleve. Det bryr de seg ikke om: Fremtiden deres ligger på den andre siden av dørstokken. Hvordan skal de komme seg over den?

Bima and Bramati ble støttet av Norsk Kulturråd og Utenriksdepartementet.

Kilde: Det Åpne Teater, Arkiv, program Bima and Bramati


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    "It's the sort of off-the wall quirkiness the Traverse was founded on." The Herald

    "Funny, clever and bewitchingly odd." Metro

    "It's Samuell Beckett's Happy Days, 50 years too late and about a tenth as well written." The Scotsman

    “Tord Akerbaek obviously aspires to be the Norwegian Samuel Beckett. This fits nicely with the approach of the Det Apne Teater company whose previous Fringe successes, including last year's Like Thunder, have always been opaque in their meanings. [...] Bima and Bramati is not an easy play but has a rich vein of humour. With its serious investigation into the nature of existence and companionship, it rewards those who are willing to make the intellectual effort to engage with it. It also features fine performances from the trapped actors.” Philip Fisher. The Edinburgh Fringe. The British Theatre Guide

    “To read that the playwright Tord Akerbaek has a degree in human-machine communication is no surprise. In his latest work, Bima and Bramati, there are just two humans, inseparable from a supporting cast of medical machinery of dialysis, oxygen, iron lung, etc. With a Spaghetti Junction of tubes and cables contained in mermaid-like tails conjoined at a fuse-box, Bima and Bramati hover helplessly on wooden swings, fellow amputees thrust together for company and survival. The bullying Bima (Nicholas Hope) and the querulous Bramati (Maureen Allan) pass the time with verbal jousting, alienated in this clinical no man's land with no sense of time or place, pondering the possibility that the world has come to an end. We know nothing of their previous lives, but we do know that the future looks decidedly grey. As bleak as Beckett, in fact, but with fewer interesting layers. [...] It is a radio play, not theatre. As Bima puts it: "For someone with so little to say, you manage to talk endlessly."” Lynne Walker. Characters lost in a tangle of endless chat. The Independent.