| Title (2) | File type | Publiseringsdato | Download |
|---|---|---|---|
| Performance programme for Scene7s produksjon De lærde damer ("The educated ladies"; 1966) | May 23, 1966 | Download | |
| Review by Stian Sørlie in Morgenbladet of Musidra Teater’s production I denne harde tid ("In these hard times"; 1974) | March 13, 1974 | Download |
Scene 7
Scene 7 was an independent theatre group established in Oslo in 1966 as a subdivision of Club 7. It was one of the first independent theatre groups in Norway. Scene 7 was a small, open avant-garde theatre with strong connections to an international artistic environment. The theatre's artistic director was Sossen Krohg. The experimental theatre defined itself as an open theatre: open to new theatrical forms, new plays and new actors. For many years, Scene 7 was one of the principal contributors to the capital's avant-garde theatre and served as an important channel for international artistic influences.
Scene 7 was repeatedly criticised by theatre reviewers for its amateurism. And rightly enough, several of its actors were in fact amateurs – in this respect Scene 7 also functioned as a form of alternative theatre school.
Scene 7 was disbanded after 19 years and 3 months, when Club 7 was declared bankrupt on 1 April 1985.
Information
(Objekt ID 5045)| Object type | Organization |
| Organization type | Theatre company |
| Main focus | Theatre |
| Established | 1966 (closed April 1, 1985) |
| Last changed | 22.07.2026 |
| Create date | 16.05.2012 |
Contact information
| Address | Oslo, Norway |
Other information
| Legal entity | Other |
Scene 7's opening production was Molière's Les Femmes savantes (De Lærde Damer) in 1966, directed by Sossen Krohg. The theatre's greatest box-office success was its production of Gerd Brantenberg's Egalias døtre.
In 1972, Scene 7 began working with outreach theatre. Initially, performances were presented in prisons, youth clubs, senior centres and hospitals. After some time, however, the municipal Director of Cultural Affairs would only support public performances organised in collaboration with, publicly funded bodies, for example district councils and public libraries.
In 1973, Scene 7 was awarded NOK 100,000 (having applied for NOK 300,000) by the Cultural Committee of the Municipality of Oslo. This made it possible to employ additional actors, who had previously worked largely without pay.
In the autumn of 1973, Scene 7 organised “Aksjon manus ut av skrivebordsskuffen” ("Action: Manuscripts out of the Desk Drawer"), a playwriting competition in which selected submissions received staged readings by Scene 7. Fifteen manuscripts were submitted, and five of them were presented as readings during the course of the year.
In 1974, Scene 7 launched an extensive programme of children's theatre.
After 1974, relatively little changed at Scene 7. Although many productions continued to be staged, the theatre had found its artistic identity and largely ceased to explore new forms of expression. The politically activist theatre that emerged in Norway during the 1970s never gained a foothold at Scene 7. Nevertheless, the theatre addressed controversial social issues, including homosexuality, disability, wrongful convictions, abuse within the prison system and psychiatry.
Dissatisfaction among the actors increased throughout the 1970s. On 8 March 1979 they sent a letter to the board accusing the management and administration of Club 7 of an apparently lax and indifferent attitude towards the management of Scene 7. That same week, a general meeting was held, followed by a second letter to the board expressing strong dissatisfaction with the current conditions at the theatre, artistically, technically and administratively. The dissatisfaction continued until it was decided to establish an artistic advisory board, revise job descriptions and undertake a thorough review of the theatre's operations during the following year. None of these measures was implemented.
By the end of the 1970s, Club 7 was once again facing severe difficulties. Internal conflicts and increasing financial disorder characterised the organisation, while external competition intensified as more jazz clubs opened in Oslo. The board raised ticket prices and reduced activity. Everything was cut drastically except staffing and the operation of Scene 7, which was sacrosanct to Club’s founder and managing director, Attila Horvath. During this same period, Scene 7 premiered the most ambitious production in its history, Ola og Ali.
In the autumn of 1981, Club 7 nevertheless had to reduce the theatre's budget by 50 per cent. From 1983 onwards, it became increasingly difficult for Scene 7 to maintain its position within the club. Budgets were cut further, the group's vitality declined and audience numbers fell. The theatre increasingly relied on guest performances, while longer intervals separated its own productions. Even so, the group maintained its artistic profile, focusing on children's theatre, socially engaged theatre, new Norwegian drama and European absurdist playwrights. The theatre moved to the mezzanine level and redefined itself as a café theatre with small tables for the audience, although it missed the theatre space in the basement.
In November 1982, the theatre staged its last Norwegian play, Til døden skiller Eder ad. After this, it presented works by European absurdist playwrights, which received favourable reviews, but by then Scene 7 was nearing the end of its existence. Rommet (The Room) was its final production, and by June 1984 only Sossen Krohg and Attila Horvath remained associated with the theatre.
Scene 7 was dissolved when Club 7 was declared bankrupt on 1 April 1985.
Scene 7's venues
1966: The basement and theatre auditorium at Edderkoppen Revue Theatre, St. Olavs plass.
1966 – summer 1970: Restaurant Kongen, Frognerkilen.
July 1971–1985: The basement of D Block at Oslo Concert Hall (Oslo Konserthus) in Vika (now the Stenersen Museum). During the first three years at the Concert Hall, Scene 7's repertoire was strongly influenced by European absurdist playwrights, American Beat writers, emerging Norwegian playwrights and playwrights working outside the institutional theatre system.
1981–1985: The mezzanine level of D Block at Oslo Concert Hall.
KILDER:
Førland, Tor Egil: Club 7. Pax Forlag A/S Oslo 1998.
Jenssen, Hugo Lauritz: Sossen. Bohemdronningen, Kagge Forlag, 2015
Club 7: Presse 7, Nr. 2 februar 1973, 2. årgang (Club 7 sitt eget tidsskrift).
Club 7: Presse 7, Nr. 4 september 1973, 2. årgang (Club 7 sitt eget tidsskrift).
| Title | Premiere |
|---|---|
| Grottedyr | – 1966 – Teaterverkstedet |
| Nøkkelhullet | – 1966 – Teaterverkstedet |
| Asbjørn P. Olsen | – Actor ( til 1985) |
| May-Brith Thowsen | – Actor |
| Halvor Schjelderup | – Actor |
| Berit Schjelderup | – Actor |
| Sessa Sidselrud de Seves | – Actor |
| Liv Borg Thorsen | – Actor |
| Jorunn Kjellsby | – Actor |
| Pål Nordrum | – Actor |
| Gunnar Enerkjær | – Actor |
| Jan Clementz | – Actor |
| Bernt Erik Larssen | – Actor |
| Guy Krohg | – Stage designer |
| Anka Næss | – Actor (fra 1977 til 1985) |
| Pernille Anker | – Artist (fra 1972 til 1975) |
| John Ellefsen | – Stagehand (fra 1968) |
| Sossen Krohg | – Theatre director (fra 1966 til 1985) |
| Attila Horvath | – Actor (fra 1966) |