Title (6) | File type | Publiseringsdato | Download |
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Anmeldelse av IdaLou Larsen i Klassekampen av Grusomhetens Teaters produksjon Fjeldfuglen (2009) | April 20, 2009 | Download | |
Anmeldelse i Aftenposten av Grusomhetens Teaters produksjon Fjeldfuglen (2009) | April 20, 2009 | Download | |
Anmeldelse i Dagbladet av Grusomhetens Teaters produksjon Fjeldfuglen (2009) | April 20, 2009 | Download | |
Anmeldelse i Dagsavisen av Grusomhetens Teaters produksjon Fjeldfuglen (2009) | April 20, 2009 | Download | |
Anmeldelse i Morgenbladet av Grusomhetens Teaters produksjon Fjeldfuglen (2009) | May 30, 2009 | Download | |
Artikkel i Ny Tid om Grusomhetens Teaters produksjon Fjeldfuglen (2009) | 2009 | Download |
The Mountain Bird
The Theatre Of Cruelty's production The Mountain Bird (2009) was a world premiere of Henrik Ibsen's unfinished opera libretto from 1859.
In The Mountain Bird by The Theatre of Cruelty national romanticism is placed in the spotlight and parodied its image of naive, innocent Norwegian peasants.
Information
(Objekt ID 356)Object type | Production |
Premiere | April 18, 2009 |
Produced by | The Theatre of Cruelty |
Based on | The Mountain Bird by Henrik Ibsen |
Audience | Adults |
Language | Norwegian |
Keywords | Musical theatre, Physical theatre, Theatre, Opera, Metatheatre |
Running period | April 18, 2009 |
Website | Grusomhetens Teater |
Requirements to venue
Blackout | Yes |
The Mountain Bird is based on the myth of the Jostedal Grouse, a young girl who wandered around the Norwegian mountain wilds during the Black Death. She lived at the farm of Birkehaug and was the only survivor in the valley of Jostedalen. She was not found until years later, when people from the neighbouring areas came along, and by then she had become "as shy and wild as a Bird". Later on she was called "The Jostedal Grouse".
The action takes place in a Norwegian valley some years after the pest. Supernatural creatures (called Haugfolket, or the People of the Pile, a Norwegian term for creatures living underground) and a bridal party of country folks are represented in the character gallery. The play describes Alfhild (The Mountain Bird) and her wish to return to the humans.
The performance was melodramatic, expressive and stylistic; the costumes often appeared to be taken right out of ‘Bridal Journey in Hardanger’ (19th century national romanticist painting by Adolph Tidemand and Hans Gude) and the music was inspired by folk music, as well as more contemporary genres.
The Mountain Bird was nominated for The Hedda Award 2009 in the category of theatre event of the year.
The Mountain Bird by The Theatre of Cruelty was supported by: Arts Council Norway, The Fund for Performing Artists, The Audio Visual Fund, the Municipality of Oslo and the Norwegian Ministry for Foreign Affairs/MFA (travel grant/performing arts).
The Theatre of Cruelty directs thanks to: Elisabeth Bring and Valdreslaget, Elisabeth Kværne, Arild Brenno, Stein Mehren, The Ibsen Museum represented by Erik Henning Edvardsen.
Source:
The Theatre of Cruelty, grusomhetensteater.no, 15.08.2010, http://www.grusomhetensteater.no
Name | Role |
---|---|
Henrik Ibsen | – Playwright |
Lars Øyno | – Direction |
Trine Sjølyst | – Choreography |
Therese Kinzler Eriksen | – Instruction (Korinstruksjon) |
Trine Sjølyst | – Instruction (Folkedansinstruksjon) |
Filip Sande | – Composition |
Paul Brady | – Visual design (Grafisk og web) |
Hege Vadstein | – Visual design (Grafisk og web) |
Tormod Lindgren | – Stage design |
Gjøril Bjercke Sæther | – Costume design |
Gjøril Bjercke Sæther | – Costume |
Jan Skomakerstuen | – Lighting design |
Marianne Thallaug Wedset | – Lighting design |
Silje Breivik | – Actor |
Hanne Dieserud | – Actor |
Miguel Emilio Dobrodenka Steinsland | – Actor |
Odille Heftye Blehr | – Actor |
Jimmie Jonasson | – Actor |
Kjærsti Odden Skjeldal | – Actor |
Hege Tunaal | – Actor (Fjeldfuglen) |
Stig Zeiner | – Actor |
Laura Ellestad | – Musician (Hardingfele) |
Lars Tore Pedersen | – Musician (Langeleik, klokkespill og fløyter og trommer) |
Therese Kinzler Eriksen | – Répétiteur |
Trude Sneve | – Mask design |
Janne Hoem | – Stage manager |
Clement Bourderie | – Assistant Stage Designer |
Kåre Brynjulvsrud | – Assistant Stage Designer |
Thor Eriksen | – Assistant Stage Designer |
Gisle Harr | – Assistant Stage Designer |
Astrid J. Johannessen | – Assistant Stage Designer |
Thomas Sanne | – Technician |
Nils Ivar Martila | – Producer |
Birgitte Erikson | – Assistant (Kostymeassistent) |
Fariba Jazi | – Assistant (Kostymeassistent) |
Idun Skogstad | – Assistant (Kostymeassistent) |
Territory Festival | October 6, 2013 |
Festival Passages | May 5, 2013 |
Vinterlys | February 19, 2011 |
The Ibsen Festival | August 30, 2010 |
Elisabeth Rygg. (2009, 20.04). Aftenposten [Oslo, Norway]:
"What we get in the graffiti-tagged building of The Theatre of Cruelty in the street of is a special experience. But nevertheless:An original worldwide premiere of an unknown Ibsen text. That is not something you see every day."
Elin Høyland (2009, 30.04). Rare Ibsen-Bird. Morgenbladet [Oslo, Norway]:
"A mixture between expressive acting that involves song and movements, exceptional work put down in the making of the costumes, and the scenography’s powerful backdrop, matches the whole picture that rises like a breathing pattern. It rises out of an imaginary and just as much (or little) a Real Mountain as any of us can claim to know. Journeys to another world that make you wonder, rather than understand."
Jens-Morten Hanssen, 20.04.2009, Festive World Premiere, Ibsen.net, 15.08.2010, http://www.ibsen.net/index.gan?id=11178225&subid=0:
"The Theatre of Cruelty in Oslo without shyness stepped up and out, and staged the play as a romantic opera, in thread with Ibsen’s genre. This they do with sensational results."
Inger Merete Hobbelstad (2009, 04.20). Air under the wings. Dagbladet [Oslo, Norway]:
"...Filip Sande's music suits the duplicity of the show: Based on folk music, containing beautiful vocal harmonies, but also wicked accords from our own time. Mountain Birds never-ending dialogue with the past creates duplicity. The result is an encouraging and interesting space on stage, mysterious yet easy to move around in."
Writer and date unknown, Adresseavisa [Trondheim, Norway]:
"In the ensemble, presented as a unity, it is a delight to study the actor instruction Øyno has provided. The design of the roles and the intensity of each and every staring glance show the focus and involvement of the actors."