| Title | File type | Publiseringsdato | Download |
|---|---|---|---|
| Program for The Theatre of Cruelty's production Peer Gynt (2002) | October 24, 2002 | Download |
Peer Gynt
Peer Gynt (2002) was a production by The Theatre of Cruelty, based on the play by Henrik Ibsen. The premiere took place at The Theatre of Cruelty.
Lars Øyno directed it.
Peer Gynt was The Theatre of Cruelty's eleventh production and the first to be performed in the new theatre venue of theirs in Hausmannsgate, Oslo.
Information
(Objekt ID 1985)| Object type | Production |
| Premiere | October 25, 2002 |
| Produced by | The Theatre of Cruelty |
| Based on | Peer Gynt by Henrik Ibsen |
| Audience | Adults |
| Language | Norwegian |
| Keywords | Theatre, Physical theatre, Metatheatre |
| Running period | October 25, 2002 — 2004 |
| Website | Grusomhetens Teater |
Requirements to venue
| Blackout | Yes |
The Theatre of Cruelty says the following, among other things, about Peer Gynt:
"Through his full bibliography, Ibsen suggests some aching pustules. Who or what is it that prevents Peer from daring to choose Solveig - and life? Ibsen’s drama about the lifelong, globe-spanning journey of a reckless youth from Gudbrandsdalen in rural Norway is told in a physical language without using Ibsen's famous lines."
In the program for Peer Gynt Lars Brunborg writes the following, among other things:
"How can it be that a piece called a dramatic poem is staged by a company which' vision is to create theatre where language is not what channels meaning, but where the body expression is the most central? Peer Gynt is a Norwegian icon and nothing to kid around with.
When we yet the same attack the assignment without fear or piety, we do because Peer captures our interest, his stubborn life journey is similar to some of ours.
[...]
Ibsen's dramatic poem has almost disappeared from our performance, but all of his drama about Peer remains. Not as a corresponding story, but as a mental image of forces with the power to ravage a person whose messy remembrance of a childhood troubles him, and this becomes decisive for his choices at determining crossroads."
The Theatre of Cruelty directs thanks to: Thor Eriksen for his invaluable efforts in the construction of The Theatre of Cruelty's venue, Fretex Elevator, Black Box, the lighting department at The Norwegian Theatre, the choir Boys of Silver represented by Torstein Grythe, Tove Grov, Per Christian Bjørnhusdal, Thomas Tregde Lorentzen.
The production was supported by: Arts Council Norway, The Fund for Performing Artists.
SOURCE:
The Theatre of Cruelty, grusomhetensteater.no, 17.08.2010, http://www.grusomhetensteater.no
| Name | Role |
|---|---|
| Henrik Ibsen | – Playwright |
| Lars Øyno | – Adapted by |
| Lars Øyno | – Direction |
| Lise Eger | – Choreography (Koreografisk assistanse) |
| Lars Tore Pedersen | – Music |
| Christina Lindgren | – Stage design |
| Tormod Lindgren | – Stage design |
| Elisabeth Wennesland | – Costume design (Design av herrebunad) |
| Christina Lindgren | – Costume |
| Tormod Lindgren | – Costume |
| Petter Steen | – Lighting design |
| Tormod Lindgren | – Graphic designer |
| Silje Breivik | – Performer |
| Lars Brunborg | – Performer |
| Odille Heftye Blehr | – Performer |
| Martha Kjørven | – Performer |
| Lenka Rozenhalova | – Performer |
| Ask Vibe Sama | – Performer |
| Robert Skjærstad | – Performer |
| Marina Skrypnik | – Performer |
| Kjartan Øyno Kirksæther | – Performer |
| Trude Sneve | – Mask design |
| Ingvild Hogstad | – Stage manager |
| Thor Eriksen | – Assistant Stage Designer |
| Ranya S. Varvin | – Costume assistant |
| Anette Werenskiold | – Costume assistant |
| Helge Rinnan | – Lighting technician |
| Thomas Sanne | – Technician |
| Tonje Reksten | – Assistant (Maskeassistent) |
| Gabriella M. Barrios | – Administration |
| Stamsund Teaterfestival | 2004 |
| Porsgrunn International Theatre Festival | June 15, 2003 |
| Nordische Tage | 2003 |
Jon Refsdal Moe, date unknown, Review titled Nedtagga nasjonalsurrealisme (literally: Tagged down national surrealism), Morgenbladet [Oslo, Norway]:
"Lars Øyno achieves a creeping sense of discomfort when he typecasts real children as the Peer and Solveig of the opening sequence. Nothing is as scary as children, when they are directed to play without that naïve benediction we usually attribute to them. Further on the small-town small-mindedness is incarnated, with the whole ensemble in a strictly choreographed madness."