Walk Cat, Walk!
Walk cat, walk! by Tore Vagn Lid/Transiteatret-Bergen was the third episode in To be continued...
Who tells the cat to walk? Tore Vagn Lid/Transiteatret placed focus on modern body culture with this performance. What forces bring clothes sizes down and elevate the anorexic to be beautiful? But the critical questions were also raised against art and the artist, thus making the performance about The Theatre, or in other words, a theatre turned critical towards itself.
Information
(Objekt ID 2121)| Object type | Production |
| Premiere | February 20, 2002 |
| Produced by | Tore Vagn Lid/Transiteatret Bergen |
| Audience | Adults |
| Keywords | Theatre, Musical theatre |
| Running period | February 20, 2002 |
| Duration | One hour |
| Website | Transiteatret-Bergen |
Requirements to venue
| Minimum stage width | 7m |
| Maximum stage width | 10m |
| Minimum stage depth | 7m |
| Maximum stage depth | 10m |
| Minimum stage height | 4m |
| Maximum stage height | 6m |
| Lights requirements | 24 channel programmable light table, plus 6 spot/ profile lights, 4 zoom lights |
| Audio requirements | Standard PA with CD player, DVD player and projector |
| Blackout | Yes |
| Rigging time | 450 minutes |
| Downrigging time | 60 minutes |
| Audience | 200 |
| Other | The play is best suited for a standard equipped cultural centre/ theatre.4 seats must be reserved for violinist and guitarist, who are placed on the audience rowA well tuned piano or grand piano |
Walk Cat, Walk! by Tore Vagn Lid/Transiteatret-Bergen regarded the correlation between culture and bodily culture, between the sphere of arts and the sphere of fashion. How focused and how self-conscious is the art, or the artist’s, look at its self? Is the parallel between the catwalk and the art world relevant? During the performance there was a search for a connection between the catwalk and the stage, the model and the actor. When the stage lights went on, the shadowy sides of glamour, art and the art industry was exposed.
Tore Vagn Lid/Transiteatret-Bergen works within the classical theatrical language, but sharpens it to a tool showing its consciousness for and knowledge of the theatrical heritage and the contemporary range of theatrical expressions. Regarding the actor as a stylized, rhythmic and powerfully physical actionist in a theatre leaving room for questioning, involvement and realization, shows references to Russian avant garde within the theatre as well as Brecht’s instrumentality of the theatre as political means.
The troupe's ambitions go beyond being an alternative to the established theatres. There is idealism and a will to produce theatre with a backbone and a critical comment to society behind every production. Politically, culturally and artistically, Transiteateret is a potent theatre which is no longer just alternative.
Source:
DTS, danseogteatersentrum.no, 01.08.2010, http://www.danseogteatersentrum.no/sck/members.shtml?lang=nor&sam=&cat=&gen=&cou=&cri=transiteatret&aid=51&prid=2&act=prod
| Name | Role |
|---|---|
| Tore Vagn Lid | – Playwright |
| Tore Vagn Lid | – Direction |
| Tore Vagn Lid | – Dramaturge |
| Tor Christian Faugstad Bleikli | – Actor |
| Camilla Skrede Johannessen | – Actor |
| Elisabeth Lahr | – Actor |
| Camilla Skrede Johannessen | – Dancer |
| Eli Hydle | – Musician (fiolin) |
| Tore Vagn Lid | – Musician (gitar) |
| Karianne Søvik Stangenes | – Musician (piano) |
| Trine Thom Moe | – Technician |
| Ketil Moland Olsen | – Technician |
| March 24, 2002 – BIT Teatergarasjen | Show |
| March 23, 2002 – BIT Teatergarasjen | Show |
| March 22, 2002 – BIT Teatergarasjen | Show |
| March 21, 2002 – BIT Teatergarasjen | Show |
| March 20, 2002 – BIT Teatergarasjen | Show |
| February 20, 2002 | Worldwide premiere |
"But there is a light lit in Norwegian theatre, and it is lit in Bergen. With its two latest productions, Opus 1 – The Anatomy of Power and Walk Cat, Walk! the independent ensemble Transiteatret has set a new standard. (...) The theatre’s intellectual responsibility." Tor Dishington Johansen (2002, 10.05). Morgenbladet
"While we let us be seduced by art, we’re constantly reminded of the construction of art. When it’s done as well-composed and refined as Transiteatret is able to do it, this double standard is very easy to accept. It makes the experience of a well-shaped and important play compete." T. Jonas (2004). Ålesund Teaterfestival
"Through an innovative use of today’s running commercial formats, plus hurried magical scenes in between, Walk Cat, Walk! has become a theatrically subtle and analytically sharp performance." Elke Van Campenhout (2004, 00.02). "Etcetera" nr.90, Bruxelles/Belgium. (The Junge Hunde Festival i Antwerp #5, 12.2003.)
"In such positions we see how it is possible to connect to the classical avant garde culture, being a Mejerhold, a Majakowskij or an Antonin Artaud wanting to overthrow the hierarchy of text in European theatre, without throwing out the text itself, only to side it with the other scenic effects. In this lies the artistic critical potential Tt-B has taken part in living out in a performance such as Walk Cat, Walk!." Knut Ove Arntzen (2003, 30.12). Article titled Pop culture and the theatre’s critical potential: Transiteatret’s 'Walk Cat, Walk!. Norsk Shakespeare og teater-tidsskrift.