| Title | File type | Publiseringsdato | Download |
|---|---|---|---|
| Forestillingsprogram for Haugesund Teaters produksjon Stormen (2016). | May 26, 2016 | Download |
The Tempest
The Tempest (2016) is a theatre production by Haugesund Theatre, based on the play by William Shakespeare, in a new version by Eirik Fauske. The production is performed outdoors, at Vibrandsøy outside of Haugesund.
Erlend Samnøen directs it.
Ole Christian Gullvåg acts in the role of Prospero and Rikke Westerlund Lie Miranda.
Information
(Objekt ID 54019)| Object type | Production |
| Premiere | May 26, 2016 |
| Produced by | Haugesund Theatre |
| Based on | The Tempest by William Shakespeare |
| Audience | Adults |
| Language | Norwegian |
| Keywords | Theatre, Drama |
| Running period | May 26, 2016 |
| Website | Haugesund Teater |
At the website of Haugesund Theatre the following, among other things, is written about The Tempest:
"With inspiration from local myths and shipwrecks, and a location estimated as one of the finest close-to-urban recreation areas in the country, playwright Eirik Fauske and instructor Erlend Samnøen's new version of Shakespeare's classic will become an exciting and inclusive production with a clear local character.
(…)
Plot: An independent theatre company has stayed at Vibrandsøy for twelve years, or perhaps one hundred years, and is finally ready to show the production its members have been practising for all these years - a ground-breaking version of The Tempest absorbing both international trends and local stories. Are we in a dream? Are we such stuff as dreams are made on? Is this it?"
SOURCES:
Haugesund Theatre, www.haugesund-teater.no, 21.04.2016, http://www.haugesund-teater.no/stormen/
Import from the Scenekunst.no list of openings 29.03.2016
| Name | Role |
|---|---|
| William Shakespeare | – Playwright |
| Eirik Fauske | – Adapted by |
| Erlend Samnøen | – Direction |
| Matilde Holdhus | – Dramaturge |
| Signe Becker | – Stage design |
| Signe Becker | – Costume design |
| Magnus Børmark | – Sound design |
| Jesper Kongshaug | – Lighting design |
| Erik Bauck Bårdstu | – Actor (Ferdinan / Antonio) |
| Ole Christian Gullvåg | – Actor (Prospero / Stephano) |
| Madalena Sousa Helly-Hansen | – Actor (Gonzalo / Trinculo ) |
| Janna Kari Kvinnesland | – Actor (Caliban / Alonzo) |
| Rikke Westerlund Lie | – Actor (Miranda) |
| Sjur Marqvardsen | – Actor (Ariel / Sebastian) |
| Mie Moe Gofjell | – Stage manager |
| Monika Bjerke | – Production manager |
| Caroline Cecilie Evju | – Consultant (Kostymekonsulent) |
| Else Ciljan Jakobsen | – Consultant (Kostymekonsulent) |
| May 26, 2016 – Nylandshuset, Vibrandsøy, Haugesund Theatre | Opening night |
"Eirik Fauske's update of Shakespeare is faithful to the original's content, and also shows an understanding for Shakespeare's ideas of form. It unites the airily poetical, the philosophical, and the earthily tangible, the corporal. At the same time, it is, in its language, its style level and references, a text for today. It tidies the themes and makes it clear how central just the questions of control are to the plot. To fight for control, to lose control, to give up control. How to use control, what to gain by control. (…) Erlend Samnøen stages The Tempest with a conscious balance between the physically proved and the more undefined spiritual, the great philosophical questions and the practical dilemmas. He has instructed his actors in a physically precise, richly conveying body language. With one exception (Lie), all the actors play two roles."
"Eirik Fauske's new version of Shakespeare's drama is a linguistic game maintaining the action and the Shakespearean while pushing and breathing at the original text. Shakespeare is heavy on tradition, and Fauske's text glides into this while pushing and challenging the use of images and choices of words, without setting Shakespeare aside. (…)In the boathouse the sea waves in, and a fog machine and nice lighting and sound enforcements of the elements of the nature created the magic. A large piece of mint-coloured silk fabric wrapped the dream with help of the wind, and it was experienced as a lift out of daily life and into something larger. And just here, a place between dream and magic, the human and inexplicable, lies the greatness of this production. Do we need magic to reconcile? I don't know. In either case, reconciliation can be pretty magic."