| Title | File type | Publiseringsdato | Download |
|---|---|---|---|
| Review of Rogaland Theatre's production Death Variations, by Elisabeth Leinslie for Norsk Shakespeare- og teatertidsskrift (2007) | June 2007 | Download |
Death Variations
Death Variations (2007) was a theatre production by Rogaland Theatre, based on the play by Jon Fosse. It was performed in the theatre's venue Intimscenen.
Jon Tombre directed it.
Information
(Objekt ID 38365)| Object type | Production |
| Premiere | January 27, 2007 |
| Produced by | Rogaland Theatre |
| Based on | Death Variations AKA Deathvariations by Jon Fosse |
| Audience | Adults |
| Language | Norwegian Nynorsk |
| Keywords | Theatre, Drama |
| Running period | January 27, 2007 |
| Website | ROGALAND TEATER |
SOURCE:
Rogaland Theatre, rogalandteater.no, 17.02.2014, http://www.rogaland-teater.no/Om%20oss/Arsmeldinger/arsmeldinger2007.pdf
| Name | Role |
|---|---|
| Jon Fosse | – Playwright |
| Jon Tombre | – Direction |
| Pål Asle Pettersen | – Music |
| Michael Evans | – Dramaturge |
| Geir Tore Holm | – Stage design |
| Geir Tore Holm | – Costume design |
| Joakim Foldøy | – Lighting design |
| John Brungot | – Actor (Venen) |
| Anders Dale | – Actor (Den unge mannen) |
| Glenn André Kaada | – Actor (Sonen) |
| Grethe Mo | – Actor (Den unge kvinna) |
| Ole A. Simensen | – Actor (Den eldre mannen) |
| Gretelill Tangen | – Actor (Den eldre kvinna) |
| Jill Tonje Holter | – Mask design |
| Wenche Solgård Andresen | – Props |
| January 27, 2007 – Intimscenen, Rogaland Teater, Rogaland Theatre | Opening night |
Elisabeth Leinslie, Monoton DØDSVARIASJONAR (literally: Monotonous Death Variations), Norsk Shakespeare- og teatertidsskrift issue no 2-3 2007:
"The one-act play gives us a rare meeting with the kind of death we may struggle the most in talking about - the suicide. In this poetic text we witness a process nobody is able to stop. [...] These events and the sufferings in these human lives do not lead to any kind of recognition. Rather, Fosse's characters continue their eternal dance through emotional states. Fosse's lack of recognition intentions provides the text with the character of a poetic image. [...] I wouldn't say that the performance as a whole managed to handle Fosse's rhythmical language, not in the arrangement, the way lines were spoken or through the sound image. Here are many good moments, but the director's choice of effects is so simple, not particularly subtle nor expressive, so they added little to the text. I am unsure of where the reason is, but it may seem as if the direction demanded a more sensitive ensemble in regards to rhythm, textually and corporally."