Kritikerprisen 2019/2020

Norwegian Critics' Award for Dance



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    Norwegian Critics' Award for Theatre



    • Gjertrud Jynge

      Speech at the awards ceremony for Norwegian Critics' Award for Theatre

      The House of Literature in Oslo 17.09.2020

      By Therese Bjørneboe

      This year's nominations reflect some of the range of Norwegian theatre - in growth, development and tradition. The monologue I want to be traditional was a personally grounded story in which the writer Maritea Dæhlin was the performer - and with "an unusually mature expression". The second nomination went to Preben Hodneland, and to the artistic team and the whole actors ensemble in a hallucinatory Raskolnikov, directed by Kjersti Horn in The Norwegian Theatre's janitor closets and corridors. The third went to Gjertrud Jynge in the role of Ales in Luk Perceval's adaptation of The Trilogy by Jon Fosse - also at The Norwegian Theatre.

      On the list, strong actors excel, and that is why it is extra delightful that this year's Norwegian Critics' Award for Theatre goes to one who has also deserved an award for her whole artistic oeuvre: Gjertrud Jynge. Jynge has played several of the great female roles of world drama, but she has also elevated smaller roles, such as Miss Harepus, to unknown heights. She has a comical talent, or perhaps rather a comical intelligence, which I first became aware of in her unforgettable Sonja in Chekhov's Uncle Vanya, in Hilda Hellwig's production from 1997. Jynge's artistic range came to its right in Robert Wilson's productions of Peer Gynt and Edda, in which she met the form's demands to musicality and precision. But also the additional extra, needed to make Wilson's theatre more than formalistic exercise. That Jynge has both a lyrical and a dramatic strain, she has shown in her interpretation of revengeful, passionate female characters, such as Christine Mannon in Eirik Stubø's intense and jazzed-up version of Mourning Becomes Electra. One of the two roles she got The Hedda Award for. The other was Maria Stauber in Time and the Room by Botho Strauss, staged by Erik Ulfsby. Jynge masters the classical format, but has an eye for the involuntarily comical or pathetic, making her interpretations modern.

      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.


      Norwegian Critics' Association,, 21.09.2020,