|Program til Statens teaterhøgskole sommerteater Den magiske timen 1992||1992||Download|
Gjertrud JyngeAlso known as: Gjertrud Louise Jynge
Gjertrud Louise Jynge (1966) is a Norwegian actress. Gjertrud Jynge was born in 1966, and attended The National Academy of Theatrefrom 1990 to 1993. The same year she was employed by Rogaland Theatre where she made her debut as der Hedvig in The Wild Duck, followed by Nora in A doll's house, both directed by Jan Håkanson.
In 1996 The Norwegian Theatre hired her, and she has worked for the theatre since. Here her many roles include Milja in Oskar Braaten's The Brat, Clytemnestra in Aeschylus' Orestes and Johanna in Taus musikk* (Mute Music) by Lars Norén.
She has performed parts in musicals such as Forever Young and Which Witch, she has been the woman in green and Anitra in Peer Gynt, and the Marquise in The Second Surprise of Love. She has also acted in several movies and TV series, and in 1996 she got Anders Jahre's Award for younger artists.
Information(Objekt ID 2962)
|Also known as||Gjertrud Louise Jynge|
|Born||October 18, 1966|
Gjertrud Jynge won The Hedda Award 2012 in the category of best supporting actress for the role of Christine Mannon in Mourning Becomes Electra, directed by Eirik Stubø, and for the role of Maria Steuber in Time and the Room, directed by Erik Ulfsby, both at The Norwegian Theatre.
The Hedda Jury gave the following reason:
"This year's winner has for many years impressed with performances in smaller, larger and medium-sized roles within all the genres of performing arts; the comedy, the musical, the contemporary drama and the classics. When she now receives the Hedda Award it is just because she is such a versatile actress, switching between being charming, witty, hysterical, seducing, love hungry, distance, refined and deeply unhappy with such playful ease.
She gets the award for original, personal interpretations of Maria Steuber in Time and the Room and for the portrait of a woman who is driven to the outermost limits by hatred and love, Christine Mannon in Mourning Becomes Electra, both at The Norwegian Theatre.
The best supporting actress award goes to Gjertrud Jynge."
Gjertrud Jynge played the seer in Robert Wilson's Edda at The Norwegian Theatre in 2017. The Hedda Award 2017 in the special artistic achievement category was given to the complete ensemble of actors in the production.
"Certain assignments demand a more dedicated approach than others. Intense concentration. Detail-oriented precision. Finely tuned musicality. This year's award in the special artistic achievement category goes to an ensemble of actors who met and who mastered such an assignment with force and conviction. Some of them had experience with the same director and the same expression from former work. Some entered the work with openness and a will to learn. Together they succeeded in creating one of this year's most grandiose and most coherently stylistic performing arts experiences."
Gjertrud Jynge won both The Hedda Award 2020 in the best leading actress category and Norwegian Critics' Award for theatre 2019/2020 for the role of Ales in The Trilogy, The Norwegian Theatre.
"This year's winner has nerve and pulse, and she masters the role with intensity from the start until the end. With the tiniest details, she captures the rhythm of the text and the strength of the playwright's narrative power. The stile is coherent, both when it is quite quiet and when the voice rises to a louder level. The movements are tiny or a bit more visible, the voice whispers, wheezes, but also calmly tells a story, the body is stiff-legged and heavy, but also upstanding and light. She is the marvellous storyteller who sees the long lines in a story of people who loved each other, and she is a towering force in the performance."
"Norwegian Critics' Award 2020 goes to her interpretation of Ales in Luk Perceval's production of The Trilogy at The Norwegian Theatre. In Perceval's adaptation, Jon Fosse's enigmatic narrator is merged with the character Ales from the trilogy's third volume. The perspective dissolves the divide between the external and the internal, between dramatic dialogue and internal monologue, and brings us into a room where we are otherwise alone.
Gjertrud Jynge has no real role in the dramatic scenes, but carries the weight of the large, arid stage space, in the three hour long performance - almost all alone. The threads that bind her to the story are her own thoughts, or trauma, alone. There is something moving and very human in the repetitive stream of thoughts in Ales, as the theatre critic Elin Lindberg wrote. And it is a great actor's effort to weave it all together and to give Ales a physical gestalt, without drawing the attention from the images her consciousness is filled with. The performance of text is in itself worth the award. Listening, near, and unsentimental. In Jynge's in many ways controlled stage apparition, her voice adds sensuality and warmth, and a distinct form of vulnerability. The end of The Trilogy was sublime, and Gjertrud Jynge will be remembered for an actor's effort of international format."
The Hedda Award, 29.05.2012, http://heddaprisen.no/pub/heddaprisen/main/?&mid=1031&aid=1030
The Hedda Award, heddaprisen.no, 19.06.2017, https://www.heddaprisen.no/vinnere/2017
The Hedda Award, www.heddaprisen.no, 16.07.20, https://www.heddaprisen.no/nominerte/2020
The Hedda Award, heddaprisen.no, 21.09.2020, https://www.heddaprisen.no/vinnere/2020
Norwegian Critics' Association, www.kritikerlaget.no, 30.09.20, https://kritikerlaget.no/saker/teaterkritikerprisen-2019-2020
*Not yet translated into English. The title within parentheses is the Norwegian title's literal meaning.
The National Academy of Theatrefrom 1990 to 1993