Friday, September 23, 2016

Our time of fear and misery – the Swedish newspaper svenska Dagbladet

Henrik Dahl
Sofia Berg-Böhm, Henrik Dahl, Tiril Wishman Eeg-Henriksen and Jan Ärfström
Theater of the Tribunal
Bertolt Brecht, Henrik Dahl, Johanna Emanuelsson m, fl

set Design: Ebba Forstenberg Music: Dror Feiler m, fl

in 1938, just before the the second world war took its start, wrote Bertolt Brecht and Margarete Steffin pjäskollaget "the Third reich fear and misery". Paragraph is a collection of scenes about what happens to people who live under oppression. To speak with Fassbinder, how fear erodes the soul.

How to change we are on an aggressive political wing claims that our existence is threatened and pointing out scapegoats? Is it so that the idea of equality and justice slowly started to crumble, as well as our moral values?

the Theatre of the Court is one of the few gruppteatrar who cling to the desire to talk politics with the crowd, and especially on how an ideological reality in daily life. Now, it has made a paraphrase of Brecht’s mellankrigsverk, referred to as "Our time’s fear and misery", a dozen impressioner from a Swedish 2016. The set consists of sharp snabbskisser on a total of 90 minutes, true brechtianska since the ensemble often sings out his frustration.

the Texts seem to all have a creator, at the side of Brecht mentions the program eleven managers: from more experienced playwrights like Johanna Emanuelsson Åsa Lindholm, Tribunalenprofiler as Richard Turpin, Jan Source and Henrik Dahl – who also directed. The lyrics are moving from the suburbs to the village community, from the bathhouse to the courts with the constant intention to depict the displacements with respect to our view of humanity, and which are covered by it.

Almost all directory is powered by a finkalibrerad irony, with the self-possessed sense of humor scorching the present. Some are gems, as if the young medelklassparet that allows roma Danuta move into, and in order to feel the intoxication of his own goodness – it is properly malicious, and recognizable. The interior from the Skivarps village community is a depiction of how fascism can take power via strict föreningstekniska forms. The scene "At the court" tells of how a system can crush individuals. A visit to a teachers ‘ lounge at a private school will be a review of a whole raft of examples of how the-isms, mobbarattityder and economic conditions, the pedagogy of the case.

the Ensemble is fantastically musical, with safe voices as Sofia Berg-Böhm and Jan Ärfström. Henrik Dahl himself leads the staging with a firm hand, this wandering through a contemporary landscape in which the contours of a possible future, get the spectator to reflect on their own role. With slight of hand, and articulated intense contact to the audience depicting the Court how the time to gnaw on, and alters, given humanistic values and a common morality.


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