|Title (2)||File type||Publiseringsdato||Download|
|Program for Trøndelag Theatre's production Phaedra (2013)||February 7, 2013||Download|
|Season program from Trøndelag Teater the spring / autumn of 2013||January 2013||Download|
Phaedra (2013) by Trøndelag Theatre, based on the play by Jean Racine. The production was performed in the theatre's venue Studioscenen.
Kjersti Haugen directed it.
Janne Kokkin played the title role.
Eivind Myren was nominated for The Hedda Award 2013 in the best audiovisual design for his lighting design for Phaedra.
Information(Objekt ID 34785)
|Premiere||February 7, 2013|
|Produced by||Trøndelag Theatre|
|Based on||Phaedra AKA Phèdre by Jean Racine|
|Number of events||38|
|Running period||February 7, 2013 — March 19, 2013|
|Duration||1 hour, 50 minutes, including an interval|
"Queen Phaedra has a problem. She is obsessed with her stepson and is near breaking down because of her feelings. Because of this she does everything within her power to fulfil her desire - and she has a lot of power. This can't end well. Nor does it.
Culture can't compete with the powers of nature. Nature can't be tamed. Nor can desire. At least not with queen Phaedra. When urges race they don't take time, space, class or position into consideration. Phaedra is about the human's battle with itself, our sense and sensibilities. What happens with the human mind in this battle? How far can a person go in obsession, in desire?
The story about Phaedra shows up as early as in the Greek ancient literature. Euripides wrote his tragedy in 428 BC and touched something essential, in being a human. Or, like one of the persons close to Phaedra puts it: All humans have been created with weak souls. It's a destiny shared by all mortals.
Jean Racine is one of the greatest tragedy writers in French classicism, and his version of Phaedra is his most performed play. It is one of the most central woman portraits in drama, because of Racine's understanding of the human mind. His ability to write such a sincere, psychologically insightful portrait, many have found, was due to his strong identification with his characters."
Trøndelag Theatre used a new translation, made by Olav Torbjørn Skare, in its production.
The Hedda Award, heddaprisen.no, 10.06.2013, http://www.heddaprisen.no/pub/heddaprisen/main/?aid=1176
The National Library of Norway, digitised performance program overlevert Sceneweb 13.08.2015
Trøndelag Theatre, trondelag-teater.no, 21.03.2013, http://www.trondelag-teater.no/forestillinger/2013/fedra/
Trøndelag Theatre's repertoire database, donated by Trøndelag Theatre, 20.06.2014
|Jean Racine||– Playwright|
|Irina Malochevskaja||– Adapted by|
|Olav Torbjørn Skare||– Translation|
|Kjersti Haugen||– Direction|
|Anne Grete Eriksen||– Choreography|
|Elisabeth Egseth Hansen||– Dramaturge|
|Bård Lie Thorbjørnsen||– Stage design|
|Bård Lie Thorbjørnsen||– Costume design|
|Anders Schille||– Sound design|
|Eivind Myren||– Lighting design|
|Ingrid Bergstrøm||– Actor (Oione, Fedras venninne)|
|Øyvind Brandtzæg||– Actor (Teramenes, Hipollytos´ venn)|
|Janne Kokkin||– Actor (Fedra, gift med Tesevs)|
|Helle Ottesen||– Actor (Ponope, kvinne ved hoffet)|
|Kingsford Siayor||– Actor (Hippolytos, sønn av Tesevs)|
|Trond-Ove Skrødal||– Actor (Tesevs, konge i Athen)|
|Ragnhild Sølvberg||– Actor (Ismene, Aricas terne og venninne)|
|Ine Marie Wilmann||– Actor (Aricia, prinsesse av athensk kongeætt)|
|Ann Kristin Høvik||– Mask design|
|Elisabeth A. K. Østergren||– Props|
|Line Åmli||– Stage manager|
|Jan Erik Nilsen||– Technical Crew|
|Gerd Aaker||– Prompter|
Lars Erik Skjærseth, date unknown, NRK:
"Rock-solid, good ancient old tragedy at Trøndelag Theatre with elegant solutions. [...] What the players behind this version of Phaedra manages with weight is to translate words into physical theatre. [...] I am actually mesmerised by the stage design, not least the lighting design.
Ole Jacob Hoel, date unknown, Adresseavisen [Trondheim]:
"The spice from physical theatre is refreshing, but Phaedra is at its very best when the text gets to play the leading role. [...] The stage design is simple and striking. [...] The musicality of the text is the great strength throughout the whole performance."