| Title (6) | File type | Publiseringsdato | Download |
|---|---|---|---|
| Essay about Verdensteatrets' production "Bridge over Mud" (2014) | September 20, 2014 | Download | |
| Essay about Verdensteatrets' production "Bridge over Mud" (2014)_English version | Navember 22, 2014 | Download | |
| Katalog for kunstgruppen Verdensteatret (2017) | 2017 | Download | |
| Season program Black Box Teater the autumn of 2014 | August 2014 | Download | |
| Season program Black Box Teater the autumn of 2015 | August 2015 | Download | |
| Sesongprogram BIT Teatergarasjen høst 2014 | 2014 | Download |
Bridge over mud
Bridge over Mud is a stage work by Verdensteatret, produced in 2014, in collaboration with The Utima Festival, Henie Onstad Art Centre, Black Box Teater and BIT Teatergarasjen.
Bridge over Mudwas nominated for The Hedda Award 2015 in the production of the year category. Verdensteatret won the award in the best audiovisual design category for the same production.
The Hedda Jury gave the following reason:
"In many productions the audiovisual design has a discreet, supporting function. It is not very easy to notice and exactly therefore excellent. Not as often, we experience that the audiovisual design is the production s foremost and most defining attribute. This is the case with this year's award winner: An intense, sense-oriented work bringing us along on an associative journey through familiar and unfamiliar landscapes, in which the stream of audio and visual impressions awaken memories in us, from exotic places we have never visited, but of which one still recognise the smells and notions.
This year's best audiovisual design award goes to Verdensteatret."
Information
(Objekt ID 41501)| Object type | Production |
| Premiere | September 19, 2014 |
| Produced by | Verdensteatret |
| Coproducers | Black Box Teater, BIT Teatergarasjen, Henie Onstad Art Centre, Ultima |
| Audience | Adults |
| Keywords | Installation, Concert, Object theatre, Multidisciplinary, Multimedia |
| Running period | September 19, 2014 — September 2016 |
| Website | Black Box Teater , VERDENSTEATRET |
"The works of Verdensteatret often appear as a journey through different forms of landscapes. Different topographies stretch out, different languages are intertwined, sudden leaps in time and space give hints to stories that might unfold in the mind of the spectators and listeners."
SOURCES:
Black Box Teater, blackbox.no, 11.08.2014, http://www.blackbox.no/content/titlePresentation.php?tid=2311
Import from the Scenekunst.no list of openings 11/08-2014
Verdensteatret, verdensteatret.com, 11.08.2014, http://verdensteatret.com/bog-announce
The Hedda Award, heddaprisen.no, 20.05.2015, http://www.heddaprisen.no/pub/heddaprisen/main/?aid=1306
The Hedda Award, heddaprisen.no, 21.06.2015, http://heddaprisen.no/pub/heddaprisen/main/?aid=1367
| Name | Role |
|---|---|
| Niklas Adam | – Co-creator |
| Eirik Arthur Blekesaune | – Co-creator |
| Lisbeth Bodd | – Co-creator |
| Ali Djabbary | – Co-creator |
| Espen Sommer Eide | – Co-creator |
| Elisabeth Gmeiner | – Co-creator |
| Janne Kruse | – Co-creator |
| Benjamin Nelson | – Co-creator |
| Asle Nilsen | – Co-creator |
| Piotr Pajchel | – Co-creator |
| Kristine Roald Sandøy | – Co-creator |
| Martin Taxt | – Co-creator |
| Thorolf Thuestad | – Co-creator |
| Torgrim Torve | – Co-creator |
| Niklas Adam | – Performer |
| Eirik Arthur Blekesaune | – Performer |
| Ali Djabbary | – Performer |
| Espen Sommer Eide | – Performer |
| Elisabeth Gmeiner | – Performer |
| Janne Kruse | – Performer |
| Benjamin Nelson | – Performer |
| Asle Nilsen | – Performer |
| Piotr Pajchel | – Performer |
| Kristine Roald Sandøy | – Performer |
| Martin Taxt | – Performer |
| Thorolf Thuestad | – Performer |
| Torgrim Torve | – Performer |
| Next Wave Festival | September 7, 2016 |
| Stamsund Teaterfestival | June 2016 |
| Nordwind | Navember 27, 2015 |
| Ultima | September 19, 2014 |
Anette Therese Pettersen, Utenfor tiden (literally: Outside of time), 22.09.2014, Klassekampen [Oslo]:
"The company transform the stage/art room into a scenic body pulsating through its visual and audiovisual elements, and the fragments floating past us take dream-like expressions. [...] The room or the universe Verdensteatret creates is eerily familiar, and at the same time estranged, so that the spectator can choose if he or she want to fantasise further from the images that rise - in long series of associations or in small, fragmented sequences."
Elisabeth Leinslie, Verdensteatrets sansesymfoni (literally: The sense symphony of Verdensteatret), Scenekunst.no 20.09.2014:
"The Bridge over Mud is a fundamentally fragmented and abstract work. The main focus rests on a poetic room stimulating your senses through a multimedial, symphonic form. The form draws on visual arts, video art, sound art and performance art. This creates a challenging complexity in which opposite forces collide in 'impossible paradoxes' on one side and surprisingly harmonic meetings on the other side. This is a symphony of sense-processing elements. If you listen to this work you may experience travelling to places where you have never been. [...] It is about being able to devote oneself to the art experience. Then we may remember, think, feel and be led to the strangest places. New doors and rooms within us may be opened in us and in our worlds. It may be beautiful, it may be ugly, it may be filled with anxiety, it may be filled with love. It may be filled with death. It may be filled with life. It is up to you and the work, and the senses and the thoughts and the feelings and the affects and the intellect and all that is in the room - what may happen. [...] With The Bridge over Mud Verdensteatret has taken its artistic expression one step further. The work crawls into your soul in a more insisting and convincing way than their former works. The interaction is finer tuned than ever. And the performers are less visible. The company trusts the symphonic room as a messenger to our senses."
Chris Erichsen, En smak av forgjengelighet, undergang og Laterna Magica (literally: A taste of impermanence, doom and Laterna Magica), 22.09.2014, Scenekunst.no:
"The whole thing is otherwise a result of intricate, data-managed high technology. It just doesn't look like it. [...] It is the World coming to us as time goes on. Or does it really? The elements move around on their own - like ghosts. [...] All the elements working at the same time are subject to a careful, tight dramaturgy and a strange accessibility, almost child-like narrativity, at the same time as it is liberated from most of the known connections and definitions of so-called contemporary art. But perhaps that is exactly why? The Bridge over Mud sets us free, opens our sense apparatuses and stimulates areas of the brain usually left unused - if we want to."
Simen Joachim Helsvig, Mekaniske tvangstanker (literally: Mechanical compulsive thoughts), 23.09.2014, Kunstkritikk.no:
"In the sensory confusion sounds are made into things and objects are given tone. [...] The Bauhaus exhibition did show how school's examining of the time's technological possibilities, combined with a consequent expression, even today seems to point towards the future. Verdensteatret's production has a similar timelessness to it, and it challenges the audience's expectations to genre conventions."