| Title (2) | File type | Publiseringsdato | Download |
|---|---|---|---|
| Program for The Theatre of Cruelty's production Theatre & Science (2007) | 2004 | Download | |
| Review in Dagsavisen of The Theatre of Cruelty's production Theatre & Science (2007) | Navember 23, 2007 | Download |
Theatre & Science
Theatre & Science (2007) is a theatre production by The Theatre of Cruelty. Theatre & Science was bbased on two texts by Antonin Artaud, Deranging the Actor and Theatre and science. The production was performed in the facilities of The Theatre of Cruelty.
Lars Øyno directed it.
Theatre & Science was the 17th production by the company. The Theatre of Cruelty characterised it as "a non-realistic, poetic and metaphysical reality". The cast consisted of eleven women.
Information
(Objekt ID 987)| Object type | Production |
| Premiere | Navember 16, 2007 |
| Produced by | The Theatre of Cruelty |
| Based on | Deranging the actor by Antonin Artaud; Theatre and Science by Antonin Artaud |
| Audience | Adults |
| Number of events | 18 |
| Language | Norwegian |
| Keywords | Theatre, Physical theatre, Theatre of the absurd, Metatheatre |
| Running period | Navember 16, 2007 — December 9, 2007 |
| Website | Grusomhetens Teater |
Requirements to venue
| Blackout | Yes |
Theatre & Science by The Theatre of Cruelty described a wish for a necessary transformation of the actor, the human body and of the world. The patriarchal hierarchy of the world, through which the thought is continuously distracted by meaningless details trying to suppress every earnest expression of life, was brought to a reckoning.
As the continuity at the stage was governed by women, the female world would be expressed. In this play they aimed at rediscovering something which at a certain point got lost on the way to material wealth. The eleven actresses dealt with a recapture of their bodies, souls and voices; a scream which could point out the direction of a total physiological revolution, without which nothing can be changed.
The production was performed at The Theatre of Cruelty from November 16 to December 9 2007.
The Theatre of Cruelty directs thanks to: Fretex Elevator represented by Aud Marit Sollid.
Supported by: Arts Council Norway, The Fund for Performing Artists, the municipality of Oslo.
Source:
Theatre of Cruelty, grusomhetensteater.no, 16.08.2010, http://www.grusomhetensteater.no
| Name | Role |
|---|---|
| Antonin Artaud | – Author |
| Lars Øyno | – Script |
| Lars Øyno | – Direction |
| Lars Tore Pedersen | – Music |
| Ole Jacob Børretzen | – Stage design |
| Thor Eriksen | – Stage design |
| Gjøril Bjercke Sæther | – Stage design |
| Lars Øyno | – Stage design |
| Ole Jacob Børretzen | – Costume design |
| Thor Eriksen | – Costume design |
| Gjøril Bjercke Sæther | – Costume design |
| Lars Øyno | – Costume design |
| Ingrid Tønder | – Lighting design |
| Fernanda Branco | – Actor |
| Hanne Dieserud | – Actor |
| Maria Dommersnes Ramvi | – Actor |
| Odille Heftye Blehr | – Actor |
| Johanna Mørck | – Actor |
| Kjærsti Odden Skjeldal | – Actor |
| Cathrine Røisli Tyssen | – Actor |
| Nina Eileen Sponnich | – Actor |
| Camilla Vislie | – Actor |
| Nelly Winterhalder | – Actor |
| Mathilde Hartviksen Dale | – Stage manager |
| Gjøril Bjercke Sæther | – Stage manager |
| Mathilde Hartviksen Dale | – Director’s assistant |
| Gjøril Bjercke Sæther | – Director’s assistant |
| Jan Skomakerstuen | – Lighting technician |
Elisabeth Rygg (2007, 17.11). Women in a soul battle. Aftenposten [Oslo, Norway]:
"This is confusing and fascinating theatre. One has to go through a myriad of people, of lingering movement, voices and cries. But The Theatre of Cruelty dares to take its own direction. They do with a continuity one just has to respect."
Elisabeth Leinslie, Innadvendt ritualteater (literally: Introvert ritual theatre), 23.11.2007, Dagsavisen[Oslo]:
"The first part is the most fascinating. Eleven women sit crunched over a pile of bones. Slowly, slowly, accompanied by sounds from another age, they clean and take care of the bones. And about half an hour later they have put them together into a huge skeleton, several meters tall. Throughout the performance this pre-historic creature observes what happens onstage. This first, well-made half hour is followed by three as long, but very patience-demanding sequences. (...) To me this production does not seem to be a feminist project, as I expected it would be. Rather it seems as if the eleven women throughout the whole thing are beneath another hand - belonging to the man."