The Threepenny Opera

About The Threepenny Opera

The Threepenny Opera (2020) was a theatre production by The Norwegian Theatre, based on the musical play by Bertolt Brecht (text), Elisabeth Hauptmann (text) and Kurt Weill (music). The production was performed at the theatre's main stage.

Tore Vagn Lid directed it.

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    More about The Threepenny Opera

    At the webpage of The Norwegian Theatre the following, among other things, is written about The Threepenny Opera:

    "The Threepenny Opera is a sharp analysis of expanding capitalism with its logic of growth and goods for sale. The near 100-year-old musical theatre work by Brecht, Weill and Hauptmann shows the infrastructure of a society in which everything and all are for sale; where nothing and nobody are of any other value than they have on the market. Nothing is except from this market. Nothing and nobody can be trusted. Not even one's own feelings.

    On this market the unscrupulous big fish, the businessman Peachum operates, as does the infamous, notorious criminal Mack the Knife. Peachum, his wife and his daughter Polly run a lucrative enterprise, in which all the beggars in town are employees. This underground hierarchy is threatened by the swindler Mack, who also seduces Peachum's daughter.

    Work is taken over by artificial intelligence

    In this version, director Tore Vagn Lid wants to take a look at an imaginary future and possible new reality. The action takes place far into the Norwegian mountain range. Some time, not too long ago, this area was free for all, a national park. It was protected and available to anyone. This is no longer so. The sign saying 'Private road' has been raised. Gone are the train company NSB, social services NAV, news agency NTB and Norwegian Broadcasting Corporation (NRK), as is the rest of the dissolving welfare state. New hordes of tourists have begun to follow the railway tracks towards the high mountains. The seasons are no longer to be trusted. And for those who trade with everything and everyone, this is a good thing, as there is now money to be made in every snow-clad hill.

    More and more work has been taken over by human-made artificial intelligence. Avatars have won through, also within theatre. They give voices to the robots, robots that don't say no, they are without boundaries. The production may be seen as a dress rehearsal for this new reality, in which the consumer's power to influence and certain other consumer rights have made their mark on the economic structures of society. Internet shopping is still attractive, not least the trade with brand new, nature-like dolls who can do better and not least cheaper than their human sisters and brothers in prostitution. But when the trade with sex dolls has already proven itself as a moral and economicgame-changer, and traditional prostitutes call for rebellion against these new colleagues, what about the market of begging?"


    The Norwegian Theatre,, 29.10.19,

    The Norwegian Theatre,, 29.10.19,