The Hedda Award 2021/2022

Best audiovisual design

Winners
  • Guro Skumsnes Moe

    A literary classic is conjured forth in a poetic darkness on the stage, thanks not least to the use of seamlessly underpinning live music, video and shadows that harmonise with shifting subject matter and persona. 

    While the ensemble creates the illusion of human folly, the musicians’ organic sound universe (sometimes spiritual, sometimes imitating nature) is essential to the story’s strong, existential undertow.

    The musicians intuitively whip up the sea, or the human psyche, through the rock-inspired score’s intensity. This all happens in a gentle stream of wonderful video projections and impressive use of the possibilities afforded by figure theatre.

    The award goes to Xavier Lescat, Vincent Loubière, Raphael Barani, Simon Masson, Guro Skumsnes Moe, Ane Marthe Sørlien Holen, Håvard Skaset and David Lejard-Ruffet for Moby Dick.

  • Ane Marthe Sørlien Holen

    A literary classic is conjured forth in a poetic darkness on the stage, thanks not least to the use of seamlessly underpinning live music, video and shadows that harmonise with shifting subject matter and persona. 

    While the ensemble creates the illusion of human folly, the musicians’ organic sound universe (sometimes spiritual, sometimes imitating nature) is essential to the story’s strong, existential undertow.

    The musicians intuitively whip up the sea, or the human psyche, through the rock-inspired score’s intensity. This all happens in a gentle stream of wonderful video projections and impressive use of the possibilities afforded by figure theatre.

    The award goes to Xavier Lescat, Vincent Loubière, Raphael Barani, Simon Masson, Guro Skumsnes Moe, Ane Marthe Sørlien Holen, Håvard Skaset and David Lejard-Ruffet for Moby Dick.

  • Håvard Skaset

    A literary classic is conjured forth in a poetic darkness on the stage, thanks not least to the use of seamlessly underpinning live music, video and shadows that harmonise with shifting subject matter and persona. 

    While the ensemble creates the illusion of human folly, the musicians’ organic sound universe (sometimes spiritual, sometimes imitating nature) is essential to the story’s strong, existential undertow.

    The musicians intuitively whip up the sea, or the human psyche, through the rock-inspired score’s intensity. This all happens in a gentle stream of wonderful video projections and impressive use of the possibilities afforded by figure theatre.

    The award goes to Xavier Lescat, Vincent Loubière, Raphael Barani, Simon Masson, Guro Skumsnes Moe, Ane Marthe Sørlien Holen, Håvard Skaset and David Lejard-Ruffet for Moby Dick.

  • Raphaël Barani

    - for sound design, Xavier Lescat and Vincent Loubière for lighting design, Guro Skumsnes Moe, Ane Marthe Sørlien Holen and Håvard Skaset for music and David Lejard-Ruffet for video for Moby Dick (by Herman Melville).Direction: Yngvild Aspeli – Plexus Polaire; co-production: Nordland Theatre, Nordland Figure Theatre,and several international co-producers.

    A literary classic is conjured forth in a poetic darkness on the stage, thanks not least to the use of seamlessly underpinning live music, video and shadows that harmonise with shifting subject matter and persona. 

    While the ensemble creates the illusion of human folly, the musicians’ organic sound universe (sometimes spiritual, sometimes imitating nature) is essential to the story’s strong, existential undertow.

    The musicians intuitively whip up the sea, or the human psyche, through the rock-inspired score’s intensity. This all happens in a gentle stream of wonderful video projections and impressive use of the possibilities afforded by figure theatre.

    The award goes to Xavier Lescat, Vincent Loubière, Raphael Barani, Simon Masson, Guro Skumsnes Moe, Ane Marthe Sørlien Holen, Håvard Skaset and David Lejard-Ruffet for Moby Dick.

  • Simon Masson

    A literary classic is conjured forth in a poetic darkness on the stage, thanks not least to the use of seamlessly underpinning live music, video and shadows that harmonise with shifting subject matter and persona. 

    While the ensemble creates the illusion of human folly, the musicians’ organic sound universe (sometimes spiritual, sometimes imitating nature) is essential to the story’s strong, existential undertow.

    The musicians intuitively whip up the sea, or the human psyche, through the rock-inspired score’s intensity. This all happens in a gentle stream of wonderful video projections and impressive use of the possibilities afforded by figure theatre.

    The award goes to Xavier Lescat, Vincent Loubière, Raphael Barani, Simon Masson, Guro Skumsnes Moe, Ane Marthe Sørlien Holen, Håvard Skaset and David Lejard-Ruffet for Moby Dick.

  • David Lejard-Ruffet

    A literary classic is conjured forth in a poetic darkness on the stage, thanks not least to the use of seamlessly underpinning live music, video and shadows that harmonise with shifting subject matter and persona. 

    While the ensemble creates the illusion of human folly, the musicians’ organic sound universe (sometimes spiritual, sometimes imitating nature) is essential to the story’s strong, existential undertow.

    The musicians intuitively whip up the sea, or the human psyche, through the rock-inspired score’s intensity. This all happens in a gentle stream of wonderful video projections and impressive use of the possibilities afforded by figure theatre.

    The award goes to Xavier Lescat, Vincent Loubière, Raphael Barani, Simon Masson, Guro Skumsnes Moe, Ane Marthe Sørlien Holen, Håvard Skaset and David Lejard-Ruffet for Moby Dick.

  • Xavier Lescat

    A literary classic is conjured forth in a poetic darkness on the stage, thanks not least to the use of seamlessly underpinning live music, video and shadows that harmonise with shifting subject matter and persona. 

    While the ensemble creates the illusion of human folly, the musicians’ organic sound universe (sometimes spiritual, sometimes imitating nature) is essential to the story’s strong, existential undertow.

    The musicians intuitively whip up the sea, or the human psyche, through the rock-inspired score’s intensity. This all happens in a gentle stream of wonderful video projections and impressive use of the possibilities afforded by figure theatre.

    The award goes to Xavier Lescat, Vincent Loubière, Raphael Barani, Simon Masson, Guro Skumsnes Moe, Ane Marthe Sørlien Holen, Håvard Skaset and David Lejard-Ruffet for Moby Dick.

  • Vincent Loubière

    A literary classic is conjured forth in a poetic darkness on the stage, thanks not least to the use of seamlessly underpinning live music, video and shadows that harmonise with shifting subject matter and persona. 

    While the ensemble creates the illusion of human folly, the musicians’ organic sound universe (sometimes spiritual, sometimes imitating nature) is essential to the story’s strong, existential undertow.

    The musicians intuitively whip up the sea, or the human psyche, through the rock-inspired score’s intensity. This all happens in a gentle stream of wonderful video projections and impressive use of the possibilities afforded by figure theatre.

    The award goes to Xavier Lescat, Vincent Loubière, Raphael Barani, Simon Masson, Guro Skumsnes Moe, Ane Marthe Sørlien Holen, Håvard Skaset and David Lejard-Ruffet for Moby Dick.




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    SOURCE:

    The Hedda Award, heddaprisen.no, 28.06.2022, https://www.heddaprisen.no/vinnere/2022

Nominated (14)
  • Helge Lilletvedt

    for musical direction, Andrea Grettve for film direction and Torben Lendorph for lighting design for Lazarus. By David Bowie/Enda Walsh, director Stefan Larsson – The National Stage.

  • Torben Lendorph

    for lighting design, Andrea Grettve for film direction, Helge Lilletvedt for musical direction for Lazarus. By David Bowie/Enda Walsh, director Stefan Larsson – The National Stage.

  • Xavier Lescat

    - for lighting design, Raphael Barani og Simon Masson for sound design, Guro Skumsnes MoeAne Marthe Sørlien Holen and Håvard Skaset for music and David Lejard-Ruffet for video for Moby Dick (by Herman Melville). Direction: Yngvild Aspeli – Plexus Polaire; co-production: Nordland Theatre, Nordland Figure Theatre,and several international co-producers.

  • Ingvild Langgård

    for sound design for Skeleton WomanAv Becker/Langgård, co-produksjon Black Box teater, BIT Teatergarasjen og Rosendal Teater.

  • Andrea Grettve

    for film direction, Helge Lilletvedt for musical direction and Torben Lendorph for lighting design for Lazarus. By David Bowie/Enda Walsh, director Stefan Larsson – The National Stage.

  • Camilla Vatne Barratt-Due

    for sound design for The shining city and BartlebyThe shining city, text and direction Espen Klouman Høiner – The National Theatre and Bartleby by Herman Melville, directed by Espen Klouman Høiner – Trøndelag Theatre.

  • Vincent Loubière

    - for lighting design, Raphael Barani og Simon Masson for sound design, Guro Skumsnes MoeAne Marthe Sørlien Holen and Håvard Skaset for music and David Lejard-Ruffet for video for Moby Dick (by Herman Melville). Direction: Yngvild Aspeli – Plexus Polaire; co-production: Nordland Theatre, Nordland Figure Theatre,and several international co-producers.

  • Raphaël Barani

    - for sound design, Xavier Lescat and Vincent Loubière for lighting design, Guro Skumsnes MoeAne Marthe Sørlien Holen and Håvard Skaset for music and David Lejard-Ruffet for video for Moby Dick (by Herman Melville). Direction: Yngvild Aspeli – Plexus Polaire; co-production: Nordland Theatre, Nordland Figure Theatre,and several international co-producers.

  • Simon Masson

    - for sound design, Xavier Lescat and Vincent Loubière for lighting design, Guro Skumsnes MoeAne Marthe Sørlien Holen and Håvard Skaset for music and David Lejard-Ruffet for video for Moby Dick (by Herman Melville). Direction: Yngvild Aspeli – Plexus Polaire; co-production: Nordland Theatre, Nordland Figure Theatre, and several international co-producers.

  • Guro Skumsnes Moe

    - for music, Xavier Lescat and Vincent Loubière for lighting design, Raphael Barani and Simon Masson for sound design and David Lejard-Ruffet for video for Moby Dick (by Herman Melville). Direction: Yngvild Aspeli – Plexus Polaire; co-production: Nordland Theatre, Nordland Figure Theatre, and several international co-producers.

  • Ane Marthe Sørlien Holen

    - for music, Xavier Lescat and Vincent Loubière for lighting design, Raphael Barani and Simon Masson for sound design and David Lejard-Ruffet for video for Moby Dick (by Herman Melville). Direction: Yngvild Aspeli – Plexus Polaire; co-production: Nordland Theatre, Nordland Figure Theatre, and several international co-producers.

  • Håvard Skaset

    - for music, Xavier Lescat and Vincent Loubière for lighting design, Raphael Barani and Simon Masson for sound design and David Lejard-Ruffet for video for Moby Dick (by Herman Melville). Direction: Yngvild Aspeli – Plexus Polaire; co-production: Nordland Theatre, Nordland Figure Theatre, and several international co-producers.

  • David Lejard-Ruffet

    - for video, Xavier Lescat and Vincent Loubière for lighting design, Raphael Barani and Simon Masson for sound design, Guro Skumsnes MoeAne Marthe Sørlien Holen and Håvard Skaset for music for Moby Dick (by Herman Melville). Direction: Yngvild Aspeli – Plexus Polaire; co-production: Nordland Theatre, Nordland Figure Theatre, and several international co-producers.

  • Verdensteatret

    for audiovisual design for Trust Me TomorrowVerdensteatret, co-production Black Box Teater, Ultima Oslo Contemporary Music Festival and Rosendal Teater

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    SOURCE:

    The Hedda Award, heddaprisen.no, 28.06.2022,https://www.heddaprisen.no/nominerte/2022

Best production for children

Winners
  • Karon’s sandpit

    Many productions for children in recent seasons have emphasised the childlike as their focal point – so that playfulness (and thus the physical, the serious, the sensitive and the unruly) is central to the narrative. 

    This year’s winner’s theatrical universe, characterized by surrealism and playfulness, appears simultaneously cacophonic and lucid. Thanks to sturdy scripting and direction, a strong cast, varied scenography and evocative sound and lighting, the performance allows us, the audience, to participate effortlessly in some of the darkest subject matter that we can imagine.  

    From among cotton grass, sand, flowers, clowns, tutus, sickbeds and stars, a tale emerges that internalizes and externalizes, at the same time metaphysical and earthly.

    The performance is much more than theatre as conversation or as comfort. It lets us look both happiness and distress in the eye, in a refined and liberating idiom.

    This year’s Hedda Award for Best production for children goes to Karon’s sandpit.

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    SOURCE:

    The Hedda Award, heddaprisen.no, 28.06.2022, 
    https://www.heddaprisen.no/vinnere/2022

Nominated (5)
  • The ice-cream van

    by Hedda Sandvig and Don Martin, directed by Hedda Sandvig and Cici Henriksen – SPKRBOX in collaboration with Kloden Teater.

  • Karon’s sandpit

    by the Sandsund Lie family, directed by Torkil Sandsund – Teater Innlandet.

  • kinShips

    concept by Ellen Jerstad, choreography Roza Moshtaghi – Øyteateret, co-production with Dansens Hus.

  • Mio, my Son

    by Astrid Lindgren, directed by Erlend Samnøen – Trøndelag teater.

  • Patrick’s trick

    by Kristo Šagor, directed by Terje Skonseng Naudeer - Brageteatret in collaboration with The National Stage.

Best stage design / costume design

Winners
  • Sven Haraldsson

    - for stage design and costume design for The Tin Drum by Günter Grass, directed by Kjersti Horn – The National Theatre.

    "The prize for Best stage design and costume design goes to a work where all the elements in the production are very strong. The stage design has a significant function in the performance’s artistic concept. 

    The stage’s dark universe seems both uncomfortable and irresistible. At first glance the stage may appear simple in its realism – but it is built up in a  complex fashion with props that are effective aids in the plot, and which are used by the principal character in an advanced, almost delirious choreography. Two live canaries, worn-out reclining chairs, creaky beds and fried potatoes really suffer at the hands of the piece’s only actor. It is a claustrophobic, poignant and powerful experience that makes a deep impression. 

    This year’s Hedda Award for Best stage design og costume design goes to Sven Haraldsson for The Tin Drum."

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    SOURCE:

    The Hedda Award, heddaprisen.no, 28.06.2022, https://www.heddaprisen.no/vinnere/2022

Nominated (8)
  • Signe Becker

    for stage and costume design for Skeleton Woman. By Becker/Langgård, co-production Black Box teater, BIT Teatergarasjen and Rosendal Theatre.

  • Nia Damerell

    for stage and costume design and Norunn Standal for lighting design for Time for pleasure. By Arne Lygre, directed by Johannes Holmen Dahl – The Norwegian Theatre.

  • Norunn Standal

    Nia Damerell for stage and costume design and Norunn Standal for lighting design for Time for pleasure. By Arne Lygre, directed by Johannes Holmen Dahl – The Norwegian Theatre. Standal is also nominated for best stage design and lighting design for Rosmersholm, at Kilden Theatre. 

  • Sven Haraldsson

    for stage and costume design for The Tin Drum, by Günter Grass, directed by Kjersti Horn - The National Theatre. 

  • Synne Reichelt Føreland

    for costume design for Rosmersholm and Norunn Standal for stage and lighting design. By Henrik Ibsen, directed by Mari Vatne Kjeldstadli – Kilden Theatre.

  • Annike Flo

    for stage design for kinShips. Concept and dramaturgy: Ellen Jerstad, choreography: Roza Moshtaghi – Øyteateret. Co-production with Dansens Hus.

  • Zofia Jakubiec

    for costume design for kinShips. Concept and dramaturgy: Ellen Jerstad, choreography: Roza Moshtaghi – Øyteateret. Co-production with Dansens Hus.

  • Baum & Leahy

    for stage design, kinShips. Concept and dramaturgy: Ellen Jerstad, choreography: Roza Moshtaghi – Øyteateret. Co-production with Dansens Hus.

Best supporting actor

Winners
  • Preben Hodneland

    - For the role of “An I / another I” in Time for Pleasure by Arne Lygre, director Johannes Holmen Dahl – The Norwegian Theatre.

    “The award for the best male supporting actor goes to a performer in one of this year’s best productions. The scene in which the awardwinner makes his entrance has been, for some of us, one of the season’s most powerful and finest moments of theatre. With no apparent effort the actor appears, gently dancing, singing and talking to himself in a way that lifts this already cast-strong production to new heights.

    His performance is playful, elegant, at times strange, sad and melancholic – but first and foremost baroque, articulated and charmingly seductive.

    The winner of the Hedda Award is Preben Hodneland."

    SOURCE:

    Heddaprisen, heddaprisen.no, 28.06.2022, 
    https://www.heddaprisen.no/vinnere/2022

Nominated (5)

Best supporting actress

Winners
  • Sara Fellman

    - for the role of Gjertine in Haymaker in heaven. By Edvard Hoem, director Bentein Baardson – Teatret Vårt and The Norwegian Theatre

    “The winner of this award has distinguished herself in several roles, with a strong stage presence, solid acting skills and a capacity for improvisation and spontaneity. In the current production all her skills come to the fore as she brings to life the rebellious character’s intensity and inner tension, in contrast to the dogma and rigidity in the society around her.

    The way she carries her dream, with a fresh laughter and wearing her heart on her sleeve, spreads a feeling of hope for the future and a recognisable energy. Likewise, the audience is moved by her meeting with a dream that doesn’t come true. 

    In the large cast she stands out both as an actor and in the role, as a remarkably genuine person in a story in which coincidences weigh heavily.

    The Hedda Award goes to Sara Fellman.

    SOURCE:

    The Hedda Award, heddaprisen.no, 28.06.2022, https://www.heddaprisen.no/vinnere/2022

     

Nominated (5)

Best text for the stage

Winners
  • Camara Lundestad Joof

    Camara Lundestad Joof for the script for They have to give birth to us or fuck us to love us. Directed by Ole Johan Skjelbred – The National Theatre.

    “In recent years, it is new Norwegian texts that have drawn people to the theatre. In what is often characterized as a harsh climate in social debates of today, such texts for the stage create alternative ways in to understanding current affairs, and a more nuanced perception of people and reality. 

    Such is the case with the winner of this year’s Hedda Award for Best text for the stage. Through dream-like logic, enthralling stories and striking allegories, it reveals how we look at and relate to each other. On the surface the text may appear sharp, satirical and sarcastic; however, if we look more closely it is also tender and full of love – a contrast that is both provocative and engaging.

    The text is written out and performed as a chorus. In this way, the narrative about vulnerability cannot be read as an individual or private matter – and it is therefore hard to disregard. This year’s best text for the stage is a riveting, wild, raging, dynamic and hypersmart polemic.

    The award goes to Camara Lundestad Joof.”

    SOURCE:

    The Hedda Award, heddaprisen.no, 28.06.2022, https://www.heddaprisen.no/vinnere/2022

Nominated (5)
  • Maritea Dæhlin

    Maritea Dæhlin for the theatre script for I want to be traditionalDirector/script/actor: Maritea Dæhlin, co-produced by Black Box Teater and Grenland Friteater.

  • Arne Lygre

    Arne Lygre for the theatre script for Time for pleasureDirector: Johannes Holmen Dahl – The Norwegian Theatre.

  • Kingsford Siayor

    Kingsford Siayor for the theatre script for SuperkidAdapted and dramatised by Kristoffer Grønskag, directed by Josette Bushell-Mingo, co-directed by Cici Henriksen – SPKRBOX in collaboration with National Black Theatre of Sweden and The National Theatre (Norway).

  • Camara Lundestad Joof

    Camara Lundestad Joof for the script for They have to give birth to us or fuck us to love us. Directed by Ole Johan Skjelbred – The National Theatre.

  • Nina Wester

    Nina Wester for the script for Utvik senior. By Rimfrost productions, co-produced by Hålogaland Theatre, in collaboration with Nordland Theatre, Vokal Nord, Arctic Arts Festival and local singers. 

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    SOURCE:

    The Hedda Award, heddaprisen.no,
    28.06.2022, https://www.heddaprisen.no/nominerte/2022