1930 - The Dictator

At the webpage of Oslo Nye Teater (Oslo New Theatre) the following, among other things, is written about 1930 - The Dictator:

"Statsteatret wish you all welcome to the sixth production in the project of ten productions dedicated to the corrected writing of Norwegian history.

(...)

The powerful theatre manager Sven Elvedal is bankrupt, His theatre is to be closed, his friends and colleagues will be thrown into hopelessly hard unemployment. The cold from the poverty of the 1930es is mercilessly fastening its ice-cold hold of them all. But, wait! In from the left comes the big-breasted Hilda Hendriksen. With her follows money, but also incredibly strong directions. She has written a tribute to the new political star, a man named Quisling. Could the theatre be interested in performing this tribute? After a great deal of intrigue, Elvedal accepts. And from that day, all hell breaks loose.

Neither life nor theatre will ever be the same. The way towards the premiere becomes a journey in fear, prejudice, intrigues and brutal battles for power. The whole thing will be naughty, entertaining and fully fascist."

SOURCES:

Import from the Scenekunst.no list of openings 15.02.2016

Oslo Nye Teater (Oslo New Theatre), www.oslonye.no, 08.05.16, http://oslonye.no/1930-diktatoren/

Lillian Bikset, Med skamløs forenkling skal folket forføres (literally: With shameless simplification, the people is to be seduced), Dagbladet May 10 2016:

"1930 - The Dictator builds on the certainty that if phrases are only sufficiently generalised, they are impossible to disprove. The very lack of substance and context is what makes every founded counter-argument seem off-topic. But as much as 1930 - The Dictator exhibits the cheap rhetoric, shameless simplifications and base enemy images (that is, Anti-Semitic caricature) of propaganda, is also shows how much personal interest has to say when it comes to a person's will to be convinced. Whether one wants sex, position or money, one could always deceive oneself into thinking that what one wants, will also be for the common good.(...) Statsteatret's fast-paced playful popularising provides a by now recognisable basic signature. This is varied from time to time through adding new meta-theatrical reference humour, every time found in a new genre's stylistic effects. This time, the company feeds hungrily from the tools of film noir, propaganda films' stylistic thoroughness and radio theatre's use of sound effects. They use time markers fromvaudeville, jazz dance and variety songs with jolliness, and they include enough humour of the kind where one is meant to laugh at flaws and handicaps, for the spectator to feel for his or her own prejudice, or alternatively politically correct reflexes, along the way."