Norunn Standal

Norunn Standal is a Norwegian lighting designer and stage designer.

Percussionist Elisabeth Nesset, composer Alf Lund Godbolt, lighting designer Norunn Standal and sound designer Vibeke Blydt-Hansen won The Hedda Award 2018 in the best audiovisual design category for their work on Antigone, produced by The Norwegian Theatre in 2018.

Norunn Standal won The Hedda Award 2020 in the best stage design/costume design category for her stage design for Dream of Autumn, The Arctic Theatre (2019).

Norunn Standal was nominated for The Hedda Award 2021/2022 in the category best stage and costume design for her work on Rosmersholm (Kilden Theatre). She was also nominated for lighting design for Time for pleasure (The National Theatre). 


(Objekt ID 24513)
Object type Person
Functions Stage designer, Lighting designer
Gender Female

The Hedda Jury gave the following reason for the award to Elisabeth Nesset, Alf Lund Godbolt, Norunn Standal and Vibeke Blydt-Hansen:

"The seamless performance is created when different elements flow into one another without interruption. Still, the spectators find that each element on its own is absolutely necessary for the whole of it. This is true for the production awarded with the audiovisual design award this year. It takes place in a large room with few performers and a minimum of props. The more important the music and the use of light become. To a large degree, sound and lighting define the production for which the award is given. Sound and light provide it with pulse and depth. The interaction between the elements give the spectators an intense experience of witnessing a Greek tragedy - which we, as it happens, do.

The award goes to Elisabeth Nesset, Alf Lund Godbolt, Norunn Standal and Vibeke Blydt-Hansen for Antigone."

The Hedda Jury gave the following reason for the award to Norunn Standal in 2020:

"The best stage design award goes to a production in which the action, content, themes and visual look melt together into a complete whole. The piece is deeply existential, and the stage design adds an extra experience, both shaking one up and inviting to silent reflection at the same time.

Here, each and every spectator is forced to think through his or her own life, his or her own choices - and the place love and reconciliation have in it all. Placed in each their lowered niche, the spectators become silent observers from the kingdom of death, and from this grave marker perspective, a large room for new reflection on the content of a complex text opens."


The Hedda Award,, 18.06.2018,

The Hedda Award,, 18.06.2018,

The Hedda Award,, 16.07.20,

The Hedda Award,, 21.09.2020,