The Trilogy

The Hedda Jury gave the following reason for the award to Luk Perceval:

"The best direction award goes to a seamless, tightly woven production, in which the theatre's artistic expressions are united in a masterful visual, musical and theatrical composition. It is grand and uncomfortable, recognisable, and intimate.

In the award winner's direction, we meet actors with a particular stage expression and movement pattern, all of it developed into a shared, rhythmic teamwork. From a seemingly realistic form, the performance moves gradually towards an expressive, absurd universe. From the intimate and close to the main stage's most broad, deep and powerful effects."

The Hedda Jury gave the following reason for the award to Gjertrud Jynge:

"This year's winner has nerve and pulse, and she masters the role with intensity from the start until the end. With the tiniest details, she captures the rhythm of the text and the strength of the playwright's narrative power. The stile is coherent, both when it is quite quiet and when the voice rises to a louder level. The movements are tiny or a bit more visible, the voice whispers, wheezes, but also calmly tells a story, the body is stiff-legged and heavy, but also upstanding and light. She is the marvellous storyteller who sees the long lines in a story of people who loved each other, and she is a towering force in the performance."

In her speech at the awards ceremony for Norwegian Critics' Award for Theatre, Therese Bjørneboe said the following, among other things, about the award to Gjertrud Jynge:

"Norwegian Critics' Award 2020 goes to her interpretation of Ales in Luk Perceval's production of The Trilogy at The Norwegian Theatre. In Perceval's adaptation, Jon Fosse's enigmatic narrator is merged with the character Ales from the trilogy's third volume. The perspective dissolves the divide between the external and the internal, between dramatic dialogue and internal monologue, and brings us into a room where we are otherwise alone.

Gjertrud Jynge has no real role in the dramatic scenes, but carries the weight of the large, arid stage space, in the three hour long performance - almost all alone. The threads that bind her to the story are her own thoughts, or trauma, alone. There is something moving and very human in the repetitive stream of thoughts in Ales, as the theatre critic Elin Lindberg wrote. And it is a great actor's effort to weave it all together and to give Ales a physical gestalt, without drawing the attention from the images her consciousness is filled with. The performance of text is in itself worth the award. Listening, near, and unsentimental. In Jynge's in many ways controlled stage apparition, her voice adds sensuality and warmth, and a distinct form of vulnerability. The end of The Trilogy was sublime, and Gjertrud Jynge will be remembered for an actor's effort of international format."

SOURCES:

The Norwegian Theatre, www.detnorsketeatret.no, 25.09.19, https://www.detnorsketeatret.no/framsyningar/trilogien

The Hedda Award, www.heddaprisen.no, 16.07.20, https://www.heddaprisen.no/nominerte/2020

The Hedda Award, heddaprisen.no, 21.09.2020, https://www.heddaprisen.no/vinnere/2020

Import of the Scenekunst.no list of openings 20.08.2019

The National Library of Norway, performance program transferred to Sceneweb 21.04.2020

Norwegian Critics' Association, www.kritikerlaget.no, 30.09.20, https://kritikerlaget.no/saker/teaterkritikerprisen-2019-2020

• The Hedda Award 2020 - Production of the year