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PEER GYNT, GOOD`S CHOICE 2017

An interactive performance about being yourself enough!

A puppet performance that presents a number of different instruments that alternate between puppet theater, mask plays, shadow theater, film and image installations and sequences with narrative theater.

 

The performance is a walk-around-theater, where you go to different scenic stations. The performance begins and ends temporarily in the same place - in a courtroom. The audience are the jury, which will judge whether Peer Gynt is himself or himself "enough", in a figurative sense: whether the Norwegian people's attitudes to the refugee situation of our time are rational and humane or protectionist, opportunistic and selfish? Peer Gynt is us - Norwegians! The Norwegian people’s soul.

 

The audience is involved in deciding different approaches in the action, design and they are also taking part in the actual scenes of the performance - partly as actors themselves on stage. Often the themes in these performances are about the audience themselves, discussing the social, political, psychological and moral issues of the person Peer Gynt, and themselves as emphatic people in today’s world.

Peer Gynt Godīs choice A3 with playing time

Participating Cast: 

Project development: Steinar Thorsen, Jorunn Lullau, Jan Holden

Script and direction: Steinar Thorsen

On stage: Steinar Thorsen, Jorunn Lullau, Jan Holden, Robin Jacobsen and the Musicaly girls.

(The Musicaly girls: Cecilie Strønen Damm, Mathilde Strønen Damm, Selma Strønen Damm and Lovise Moland Espeland)

Puppets: Monika Solheim and Jan Holden

Musical director: Mathias Grønsdal

Lighting: Jan Holden

Age: 14-19+ years
Duration: 2 hours

Tour:The cultural schoolbag Bergen, Cornerteateret 2018.

Cooperation:
The Hungarian theater company: Kàva Kulturális Műhely.

Support:
Bergen municipality, EEA Grants

Anmeldelser: 
"Bortskjemte nordmenn og lidende flyktninger"
Periskop, 26.4.2017, Judith Dybendal
Anmeldelser: 
"Bortskjemte nordmenn og lidende flyktninger"
Periskop, 26.4.2017, Judith Dybendal
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