The Hedda Award 2021/2022

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.

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.

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.

- 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.

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.

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.

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.

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

The award for Best musical theatre production goes to a strong and life-affirming production, based on real events. We are carried along by the intensity, warmth and power of the deeply personal story, which we understand to be relevant for us all.

The dramatic and highly political story is intelligently and sensitively woven. It is entertaining, heartfelt, serious and enriching. Newly composed songs drive the tale along, broaden our understanding of it, strengthen it and bring it alive. Its unique form is astonishing.

This personal production is precisely performed – by extremely skilled artists – around a woman with a rare talent for communication. The story mirrors the conventionally held view that identity is not only about who you are, but also builds on those who have gone before you, who have travelled, stayed and come back again. And on those who will come after. The music, the reminiscences and the contemplation reflect both the pleasure and the challenges of living in a changing and complex world.

The very first Hedda Award for Best musical theatre production goes to Mother of a Nation.

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SOURCE:

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

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

- 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

- 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

- 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

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

Creating theatre about reality is difficult. Creating theatre about real-life events that are surrounded by controversy, is extraordinarily demanding. And when those events are a complex mix of international politics, death and vulnerable, ordinary people in our own country, the task begins to seem impossible. Especially when bereaved family and friends are still alive, sorrowing and angry. 

But it is possible. And it is possible to do so with a strong, artistic nerve that elevates, broadens and creates greater space for knowledge, insight, recognition and empathy. Here, everything works tightly together – the text and the acting, the music, the singing, the set design, dramaturgy and direction.

This is an extraordinarily well-formed account of a painful north Norwegian and national sore from the Cold War, in combination with a heartbreaking and close encounter with the enormous personal costs of the events.

This year’s Hedda goes to the production Utvik Senior – Nina Wester and Rimfrost productions.

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SOURCE:

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

This evening, we wish to celebrate a colleague who grew up in several different countries, but who throughout her whole life felt that she belonged to the family of which we are all members: the theatre. 

And it is to the theatre that she has devoted an entire lifetime of deep personal and professional engagement. She describes it as working to bring people closer to one another, to build acceptance and embrace greater diversity. In Norway we know her as an innovator and a committed theatre director for over two decades. Internationally she is no less resolute: few people in our discipline have achieved more in the development of international networks and exchanges. She has been a pioneer in her field.

She is almost an institution in her own right. It is thanks to her work and ambition that we have a vital and high-profile sign-language theatre in Norway, Teater Manu.

The Hedda committee’s honorary award goes this year – with great respect – to Mira Zuckermann.

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SOURCE:

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

For the project «Norway 1066-2066». The Hedda jury honours an idea and an achievement that is so dizzyingly ambitious that it appears, on paper, to be a theatrical impossibility. But the challenge of the impossible, in combination with an amazing “can-do” attitude, have given us magical experiences and quantum leaps of thought. The result is theatrical history.

The project is a collective boost that demonstrates an idea of what theatre can be; what can be achieved by throwing off the framework that some consider to be essential to a production. At the same time, the project casts a sidelong, satirical glance at the world around, with a reckless approach to the tragicomical.

The ensemble holds the stories in the palms of their hands, while they have a boundless capacity for mixing the blackest of humour with slapstick. When they set about the major events of history, they turn everything upside down – but not without irony or the will to challenge established truths – and often by setting the individual up against the machinations of the powers that be. They hardly need anything more than the stage on which they stand.

The whole concept is based on the ability to ask questions, and on acting performances marked by conscious conflict-seeking and individual self-sacrifice. In this way, the ensemble shows how humour, personal differences and gentle madness can be used to represent serious, provocative subject matter. As they say themselves: “All we know is that nothing is certain. And when nothing is certain, nothing is true.”

All detours lead to the target for this ensemble. The journey that started at Stamford Bridge is now over, and the king has returned, closing off a totally personal presentation of 1000 years of Norwegian history, told through 10 theatre productions over 10 years. They have given us a new view of Norway, and a new notion of theatre’s potential.

The Hedda Award for Special Artistic Achievement goes to Statsteatret for the project “Norway 1066-2066”.

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SOURCE:

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