| Title | File type | Publiseringsdato | Download |
|---|---|---|---|
| Season program catalog Black Box Theater the autumn of 2010. | August 2010 | Download |
Out, Out Into The Green!
A suite by Tore Vagn Lid (Opus V)
The suite Out, Out into the Green! by Tore Vagn Lid and Transiteatret-Bergen picks up where Elephant Stories left (The Bergen International Festival 09/The Contemporary Stage Festival 09), anticipating the subject of Norwegian Broadcasting Corporation and Harald Eia's program Hjernevask (literally: Brain Wash), but which, opposed to the mentioned, takes a clear stand against a naïve, naturalist tendency in presenting and understanding biology research. For instance several psychiatric diagnoses on the level of hypothesis (ADD, bipolarity) are presented and received as if they were natural and unchangeable sizes. In the main movement of the suite - Ressentiment - Pavane for a dead princess - the anatomy of powerlessness is examined in confrontation with new naturalism.
The prism is moved from the (neuro) science's inside to the very consequence, or the outside: What happens when the loser encounters an increased number of tests within popular science, the school system, TV-entertainment and Internet, and then begins to consider his/her own performance as nature? Ressentiment describes the passivising connection between envy and powerlessness. Do we live in a steadily expanded test zone? Do the tests, with their endless diagnoses, create a whole new type of resentment? And how destructive is this in last instance for a free society – for the opportunity for personal and collective change?
In the last movement of the suite – Polyphonia Variations – consequence is again sought. In this movement the new biologism's simple, unnuanced world view of complexity, tempo and double communication in a young reality is challenged. The monologue of naturalism meets the ambiguous or polyphonic in the cultural industry: What happens when what a young person learn about body, friendship, trust and sexuality does not answer to what one feels and thinks, or when what one hears is opposed by what one sees?
Information
(Objekt ID 6702)| Object type | Production |
| Premiere | September 30, 2010 |
| Produced by | Tore Vagn Lid/Transiteatret Bergen |
| Coproducers | BIT Teatergarasjen, Black Box Teater, Wrap Arts Centre, The National Stage |
| In collaboration with | Bergen Center for Electronic Arts, Mini Midi Maxi |
| Audience | Youth, Adults |
| Language | Norwegian |
| Keywords | Theatre, Musical theatre, Research, Apprentice play, Music, Audio Theatre |
| Running period | September 30, 2010 |
Requirements to venue
| Blackout | Yes |
The suite:
Out, out into the green! is composed as movements, after pattern of the movement dramaturgy of the baroque music. Every movement stands independently, but also is part of a context; an audio visual excursion taking us steadily longer into the new biologism's beautiful green world or harmony, order and balance. An expedition to a time (a future) in which there is no longer any doubt about the nature of the human, in which a new master science finally has succeeded in putting things into natural order. A short first movement (or prologue) takes place by a camp fire in the foyer. The second – and longest – movement brings us to the camp a bit further in, where an experiment plays out. Then a little intermezzo follows – a break to breathe by the camp fire – with time for a small serving, before the scout troop takes us to the last outpost.
Prologue:
First letter from the green
In an optimistic letter – addressed to Karl M – it is told about a happy natural condition in which anxiety of existence, chaos and ambiguity are replaced by the harmonic order of nature and DNA.
Performers: Egil Haugland (classic guitar), Stein-Erik Olsen (classic guitar), Njål Vindenes (classic guitar). Stage performers: Ivanna Petrova, Isabel Shepherd. Text, audio visual concept and direction: Tore Vagn Lid. Stage designer: Kyrre Bjørkås. Stage design assistant: Gunnhild Mathea Olaussen. Video/phonograph: Roar Sletteland. Music: J.S.Bach Passacagli. Video: Rune Andreassen. A (BWV 582) arranged for guitar trio. Guitar arr: Øyvind Lyslo. Stage manager: Sara Bruteig Olsen. Producer: Transiteatret-Bergen.
The prologue is supported by the municipality of Bergen. Co-production: Black Box Teater.
Main movement:
Ressentiment – Pavane for a dead princess
The scout troop guides us to a camp: A researcher, or perhaps rather a young man on the threshold of becoming a researcher, presents his results to a committee. His subject or discipline is somewhat uncertain, but during the examination hour, he has sufficient time to present a handful of tests made on a selection of test persons. One of these tests is a little related to Martin Seligman's famous dog research, in which a group of dogs were given electric shocks and could turn off electricity, while another group was given shocks without being able to turn off electricity, upon which Seligman meant he could observe how the dogs of the latter group learned to give in and become helpless, also in the situations in which they actually could have stopped the shocks. What is certain in this context is that the candidate - after a promising start - gets into sufficient problems to be rejected and repudiated by the people who could have become his future colleagues.
Text/Direction/Audio visual concept: Tore Vagn Lid. Stage design/Video: Kyrre Bjørkås. Sound design/Sound technique: Thorolf Thuestad. Sound technique/material dramaturge: Roar Sletteland. Music and Sound dramaturgy/Musical arrangements: Tore V. Lid. Stage design assistant: Gunnhild Mathea Olaussen. Stage manager: Kirsti Aksnes and Sara Bruteig Olsen. Actors/Musicians: Tor Chr. F. Bleikli, Hilde Annine Hasselberg (song), Mona Solhaug, Thomas Valeur (guitar). Voices: Arild Vestre (the Candidate), Ragnhild Gudbrandsen, Tore Vagn Lid. Producer: Transiteatret-Bergen in collaboration with Bergen Centre for Electronic Arts.
Ressentiment - Pavane for a dead princess was supported by Spenn.no, Arts Council Norway, Kunstløftet and the municipality of Bergen. Thanks to Helge Holgersen for useful advice and input. Co-producers: BIT-Teatergarasjen, The National Venue of Theatre, the art centre Wrap and Black Box Teater. Duration: approx. 1 h 15 min
Intermezzo:
Second letter from the green
In the second message to Karl M the tune is sharpened. The letter has form of confrontation, a parting between two who at one point must have been close: It is not just about you being old and I still being relatively young. It is rather that I feel as if you have kept me in the dark – that you have lied to me and that the lie has lasted way, way too long.
Performers: Egil Haugland (classic guitar), Stein-Erik Olsen (classic guitar), Njål Vindenes (classic guitar). Stage performers: Ivanna Petrova, Isabel Shepherd. Text, audio visual concept and direction: Tore Vagn Lid. Stage designer: Kyrre Bjørkås. Stage design assistant: Gunnhild Mathea Olaussen. Video: Rune Andreassen. Phonograph: Roar Sletteland. Music: J.S.Bach Fugue (BWV 582) - arranged for guitar trio. Arrangement: Øyvind Lyslo. Stage manager: Sara Bruteig Olsen. Producer: Transiteatret-Bergen.
Intermezzo was supported by the municipality of Bergen. Co-producer: Black Box Teater.
After the break:
Polyphonia Variations
In this last sign of life sent to the civilisation the tone in the letter is no longer as certain and unambiguous. Already in the opening sentence – along the line of I can't tell one story, because the story of what is called me is not one, but many different stories, at least indicates that something dramatic has happened, or is about to happen, with the expedition. What is certain is Polyphonia Variations – this for now last camp site – confronts young performers with a virtuoso, demanding musical and audio visual structure, and the other way around. The very material in Polyphonia – a visual audio play (2007) is not just challenged in the meeting with the young performers, but also with a brand new, green context.
Script, direction and audio visual concept: Tore Vagn Lid. Stage design and video: Kyrre Bjørkås. Sound technique: Thorolf Thuestad. Onstage: Ivanna Petrova, Isabel Shepherd, Jørgen Hausberg Nilsen. Stage manager: Sara Bruteig Olsen. Producer: Transiteatret-Bergen in collaboration with Bergen Kunsthall/Landmark, BEK, the art centre Wrap, Mini Midi Maxi.
Polyphonia Variations was supported by the municipality of Bergen. Co-producer: Black Box Teater. Duration: Approx. 60 min
Supported by Spenn.no, Arts Council Norway, Kunstløftet and the municipality of Bergen.
| Name | Role |
|---|---|
| Tore Vagn Lid | – Text |
| Tore Vagn Lid | – Concept/Idea |
| Tore Vagn Lid | – Direction |
| Tore Vagn Lid | – Music |
| Kyrre Bjørkås | – Stage design |
| Rune Andreassen | – Video/Film |
| Kyrre Bjørkås | – Video/Film |
| Tore Vagn Lid | – Musical arrangement |
| Øyvind Lyslo | – Musical arrangement (Gitar arrangement) |
| Thorolf Thuestad | – Sound design |
| Tor Christian Faugstad Bleikli | – Actor |
| Mona Synnøve Solhaug | – Actor |
| Jørgen Hausberg Nilsen | – Performer |
| Ivanna Petrova | – Performer |
| Isabel Shepherd | – Performer |
| Egil Haugland | – Musician (Klassisk gitar) |
| Stein-Erik Olsen | – Musician (Klassisk gitar) |
| Thomas Sinclair Valeur | – Musician (Gitar) |
| Njål Vindenes | – Musician (Klassisk gitar) |
| Hilde Anine Hasselberg | – Singer |
| Ragnhild Gudbrandsen | – Voiceover |
| Tore Vagn Lid | – Voiceover |
| Arild Vestre | – Voiceover (Kandidaten) |
| Sara Bruteig Olsen | – Stage manager |
| Kirsti Aksnes | – Stage manager |
| Roar Sletteland | – Sound technician |
| Thorolf Thuestad | – Sound technician |
| Gunnhild Mathea Olaussen | – Other |
| Roar Sletteland | – Other (Fonograf) |
| October 3, 2010 – Store scene Black Box Teater (Marstrandgata) | Show |
| October 2, 2010 – Store scene Black Box Teater (Marstrandgata) | Show |
| October 1, 2010 – Store scene Black Box Teater (Marstrandgata) | Show |
| September 30, 2010 – Store scene Black Box Teater (Marstrandgata) | Opening night |
"Out, out into the green! expects a lot from its audience, in an age when humans are a consumption goods and one is judged for one’s DNA in publically funded television. Tore Vagn Lid and Transiteatret-Bergen have perfected their epic theatre to the tip of their fingers, posing elegant questions still claiming their right after the applause has died."
Skuseth, Caroline (04.10.2010). Review titled Lærestykke om avmakt (literally: Learning play about loss of power). Scenekunst, scenekunst.no, 08.12.2010, http://www2.scenekunst.no/egenkritikk_7565.nml
"Tore Vagn Lid presents modern life as an eternal exam. I failed. (...) For the first time in my long life in the theatre I have experienced a performance I, frankly, did not understand anything of."
Larsen, IdaLou (04.10.2010). Review titled Livet som kunnskapstest (Life as a test for knowledge). IdaLou Larsen, idalou.no, 08.12.2010, http://www.idalou.no/pub/idalou/kritikker/?aid=1393#idalou