Fattigjenta, bingoprinsen og det magiske pølsevannet* (The poor girl, the bingo prince and the magical hot dog water)
The spring of 2008 The Open Theatre (Det Åpne Teater) presented a staged reading of Fattigjenta, bingoprinsen og det magiske pølsevannet* (The poor girl, the bingo prince and the magical hot dog water) by Kari Fredrikke Brænne, a political satire for children directed by Franzisca Aarflot: The money doesn’t cover the electricity bill, the hot dog kiosks pop up all over town and the most wonderful boy at school invites to the party of all times. How poor do you need to get help and how stupid do you need to be to win the prince?
*Not yet translated into English. The title within parentheses is the Norwegian title's literal meaning.
Information(Objekt ID 7658)
|Premiere||April 26, 2008|
|Produced by||The Open Theatre (Det Åpne Teater)|
|Based on||Fattigjenta, bingoprinsen og det magiske pølsevannet* (The poor girl, the bingo prince and the magical hot dog water) by Kari Fredrikke Brænne|
|Audience||Children (from 8)|
|Number of events||1|
|Expressions||Reading, Performance for children|
|Running period||April 26, 2008 — April 26, 2008|
|Website||Det Åpne Teater|
Requirements to venue
The staged reading as an expression:
Readings are often associated with a series of actors on chairs or bar stools with scripts in their hands or on music stands. This can be a good way of presenting a text, but a staged reading is something else; it includes a degree of staging/direction. The actors have had the text for some time prior to reading and the rehearsal time is a bit longer. But the most important difference is that the director has made some clear choices regarding composition, visual effects, music etc. Hence, a staged reading is more similar to a performance. However, as opposed to the process towards a performance, the expression of a reading can open other types of directorial choices and other methods of approach for the actors. They can make choices which would not have been possible in a performance, but which works as interesting and releasing during a reading. Often this will be experimental choices including some degree of experimentation.
The Open Theatre (Det Åpne Teater) has developed a certain competence and experience with readings, staged and un-staged. The theatre wanted to develop this further by including a stage designer in the staging work, not just to enrich the visual aspect, but also to contribute to creating a room liberating the actor in his/her work. Staged or not – readings shall have short rehearsal periods and be characterised by brave choices and increased heartbeats – that is part of the appeal for performers and audience alike.
Source: The Open Theatre (Det Åpne Teater), detapneteater.no, 25.10.2010, http://www.detapneteater.no/pub/daat/forestillinger/?aid=686&cid=17&sac=all&viewall=1#daat