Wishful Beginnings
Beat The Drum
Beat The Drum: Wishful Beginnings (2016) was a theatre production by Verk Produksjoner AKA Verk Productions in collaboration with Black Box Teater, Avant Garden and BIT Teatergarasjen. The premiere was performed at Black Box Teater.
Beat The Drum: Wishful Beginnings is created by Fredrik Hannestad, Saila Hyttinen, Tilo Hahn, Signe Becker, Solveig Laland Mohn, Håkon Mathias Vassvik, Per Platou, Anders Mossling, Espen Klouman Høiner, Pernille Mogensen, Camilla Eeg-Tverbakk, Jon Refsdal Moe and Agnes Gry.
Information
(Objekt ID 53181)| Object type | Production |
| Premiere | April 6, 2016 |
| Produced by | Verk Produksjoner |
| Coproducers | Black Box Teater, BIT Teatergarasjen, Rosendal Teater |
| Audience | Adults |
| Language | Norwegian and English |
| Keywords | Theatre |
| Running period | April 6, 2016 |
| Duration | 1 hour, 30 minutes |
| Website | Black Box Teater, VERK PRODUKSJONER |
"It may be about tabula rasa, to start over, to clear the table, it may be about the feeling of sitting in a sinking ship.
Or a sneaking feeling that we have constructed a society around a set of expectations about the future, that now turns out to be life-threatening and wrong. Can it be that the ruling system goes too fast in one direction and nobody quite knows how to steer the ship?
With this as a backdrop we have embarked on a journey during which we have collected stories, we have had countless discussions, we have wandered, we have narrated, recorded, collected, retold and spun on. We have banged our heads against the wall, we have looked to the side, read shadows and tried to give voice to resonance. Perhaps it is about conjuring a ghost or call forth something unknown?"
SOURCE:
Black Box Teater, 30.03.16, http://www.blackbox.no/tittel/beat-the-drum-wishful-beginnings/
| Name | Role |
|---|---|
| Signe Becker | – Stage design |
| Per Platou | – Sound |
| Tilo Hahn | – Light |
| Camilla Eeg-Tverbakk | – Co-creator |
| Agnes Gry | – Co-creator |
| Tilo Hahn | – Co-creator |
| Fredrik Hannestad | – Co-creator |
| Saila Hyttinen | – Co-creator |
| Espen Klouman Høiner | – Co-creator |
| Solveig Laland Mohn | – Co-creator |
| Anders Mossling | – Co-creator |
| Per Platou | – Co-creator |
| Jon Refsdal Moe | – Co-creator |
| Håkon Mathias Vassvik | – Co-creator |
| Saila Hyttinen | – Actor |
| Espen Klouman Høiner | – Actor |
| Solveig Laland Mohn | – Actor |
| Anders Mossling | – Actor |
| Håkon Mathias Vassvik | – Actor |
| Ingrid Eggen | – Photo |
| Pernille Nonås Mogensen | – Producer |
| October 6, 2017 | action-performance |
| September 28, 2017 19:00 – Høstscena, Ålesund Theatre Festival | Show |
| September 2016 (Teaterfestivalen i Fjaler ) | Show |
| April 17, 2016 – Store scene Black Box Teater (Marstrandgata) | Show |
| April 16, 2016 – Store scene Black Box Teater (Marstrandgata) | Show |
| April 15, 2016 – Store scene Black Box Teater (Marstrandgata) | Show |
| April 14, 2016 – Store scene Black Box Teater (Marstrandgata) | Show |
| April 13, 2016 – Store scene Black Box Teater (Marstrandgata) | Show |
| April 10, 2016 – Store scene Black Box Teater (Marstrandgata) | Show |
| April 9, 2016 – Store scene Black Box Teater (Marstrandgata) | Show |
| April 8, 2016 – Store scene Black Box Teater (Marstrandgata) | Show |
| April 7, 2016 – Store scene Black Box Teater (Marstrandgata) | Show |
| April 6, 2016 – Store scene Black Box Teater (Marstrandgata) | Worldwide premiere |
| Teaterfestivalen i Fjaler | September 2016 |
"Where should one draw the limit between universal, recognisable, well-known, trivial and pointless? Where should one put the divide between pretention and parody of pretention, how should one define the difference between sincerity and irony over sincerity? When should recycling be perceived as richness in references, quote and recognition, and when should it be seen as lack or originality, superficial, cheap? When does a loose structure turn into a lack of structure? (...) A characteristic of the naïve-philosophical projects of Verk Produksjoner AKA Verk Productions, is that they both illuminate and disregard questions like those above. Perhaps one could say that they acknowledge such issues, for so to try to make them irrelevant. They do this in form, particularly loosely collected kaleidoscopes of cliché, collages so uncommittedly connected that it, in itself, is not just an invitation to subjective interpretation, but to loose opinion. They do this in content, with themes so floating that they, despite all the will for discussing life, is condemned to seem superficial, vague, both when the performer analyses it, and when the performer lets go of it while it is still unexamined."