Loga árvvoštallama sámegillii. There was a kind of buzz in the air over Kautokeino on Friday when the Sami National Theater Beaivváš had its very first premiere in the new theater building Čoarvemátta. It is not everyday to walk into a brand new theater space. Beaivváš has fought for this for a long time. The performance “Ædnan” shows, despite some weaknesses, that this is a vital theater with great potential. Great possibilities And let it be said straight away: This is a good theater room. Appropriately large, good sound, a spacious and deep stage that can still be made intimate. And: A remarkable and beautiful stage carpet. ATTENTION: Máret Ánne Sara has made the stage curtain “Gapmu” for the theater hall in Čoarvemátta. There is something unfathomable and remarkable about that which underlines the mission of the Sami National Theatre: To mirror Sami experiences and tell Sami stories. Photo: Aslak Mikal Mienna Máret Ánne Sara’s carpet attracts the audience’s attention. The intricate pattern shows the belly fat of the reindeer. The carpet will be a summary of what is Beaivváš’s mandate: tell Sami stories, reflect Sami culture and experiences. Nomadic structure “Ædnan” is originally a collection of poems by Swedish-Sámi Linnéa Axelsson, a large volume of poems that puts three women at the center – three generations that are followed over 100 years. It is a beautiful collection of poems, condensed and rich in images. Not least, the poems have plenty of room for the reader to play on and expand the story. Making musical theater out of such a voluminous work will necessarily reduce it. Brutal choices have to be made, and director and playwright Leif Stinnerbom has cut quite smartly. The three women stand out, the most important features and events in the story are included. At the same time, it is easy to get lost in who is who in the story if you do not know it beforehand. And there is little time for wonder and reflection in the theater version of “Ædnan”. THEATER ROOM: In Čoarvemátta, the Sami National Theater has been given a large stage, which for the first premiere of “Ædnan” had been given an elaborate stage design. Therefore, this performance does not tour in Sápmi, as Beaivváš usually does. Instead, the audience is bused to the performance in Kautokeino. Photo: Jakob Jakobsson This is due, among other things, to the musical theater format. Magnus Stinnerbom has composed the music for the piece, a kind of folk music with a sometimes quite rock sound. The orchestra sounds very good, the music is catchy and drives the plot forward with great boldness. It is a good piece of work by both performers and composer. But it also helps to give the piece a kind of nomadic structure. When a scene is finished, it is abruptly interrupted when the music immediately starts and takes the performance on. The timing between orchestra and ensemble is close and good, but the chasing drive gives a feeling of constant interruptions in the narrative. The audience is given little time to take in what is happening. Esaia Vailo Länta plays a fine role as the boy Aslat in “Ædnan”. From left: Lemet Jonne Sarre, Mary Sarre, Iŋgor Ántte Áilu Gaup, Esaia Valio Länta, Nils Henrik Buljo. Photo: Jakob Jakobsson Activism is central to the youngest generation of women who play an important role in “Ædnan”. Ingá Márjá Sarre (in the middle) does a fresh role as activist Sandra. Photo: Jakob Jakobsson Iŋgor Ántte Áilu Gaup and Mary Sarre have been part of the ensemble at Beaivváš for many years. Now they get to swing in a brand new theater house. Photo: Jakob Jakobsson Hope for the future “Ædnan” at Beaivváš has a positive undertone. Despite a story with a lot of hardship – where the borders are closed to the summer grazing in Norway, the rivers are dammed and reindeer herding has to give way to work in mines or at the hydropower producer Vattenfall, this is not what the show dwells on. It takes the audience on to our time and to the fight for Sami rights. A fight the show has believed in. While I am curious about the mechanisms that make one of the women in the show refuse to talk about her Sami identity, the show does not spend much time on this. I miss an exploration of these feelings, of what is difficult to put into words, in “Ædnan”. SPRING CLEANING: Fresh start for Beaivváš in new theater house. From left: Mary Sarre, Ine Buljo, Marte Fjellheim Sarre, Sárá Gáren Ánne Nilut, Ida Sofie Klemetsen Gaup. Photo: Jakob Jakobsson The acting style in Beaivváš’s performances has often had a frontal and slightly static feel, where the actors stand with their faces and bodies facing the audience. This again makes the playing style characterized by little subtitles, often in such a way that what is said is also played out. It provides a kind of butter-on-pork function that can help narrow down the narrative instead of expanding it. This is the case to a certain extent in “Ædnan” as well. Here there is little understatement in the storytelling, visual means could have been better utilized, and the choreography tends towards the repetitive, even if it is characterized by speed and fine tempo. Nevertheless, this is a boost for Beaivváš. Mary Sarre is lovely in the role of the eldest of the three women, and her fine, varied and expressive acting could have been woven into the performance to an even greater extent. With 15 actors on stage in addition to the orchestra, there is no doubt that this is a powerful start for the theater business in the new house. Anyone who can, should go to a theater scene. A lot of good things can happen here in the coming years. news reviewer Photo: Jakob Jakobsson Title: “Ædnan” Place: Beaivváš, Kautokeino By: Linnea Axelsson Composer: Magnus Stinnerbom Dramatization: Leif Stinnerbom Sami translation: Kari Mákreda Utsi Translation songs: Rawdna C Eira/Heaika Hætta ovttas/ in collaboration with Kari Mákreda Utsi Instructor: Leif Stinnerbom Choreographer: Jimmy Meurling Supervisor: Rawdna Carita Eira Set designer: Jakob Jakobsson Costume designer: Inger Hallström Stinnerbom Lighting design: Øystein Heitmann Sound design: Eivind Steinholm Actors: Marte Fjellheim Sarre, Nils Henrik Buljo, Elin Oskal, Egil Keskitalo, Mary Sarre, Iŋgor Ántte Áilu Gaup, Matias Tunold, Ingá Márjá Sarre, Anitta Suikkari, Esaia Valio Länta, Lemet Jonne Sarre Bandmaster and musician: Thomas Eriksson Musicians: Thomas Eriksson, Gjermund Silset, Espen Høgmo, Anthoni Hætta, Asbjørn Ruud, Ingrid Marie Willasen, Nikolai Girunyan, Agnes Pavelich, Anders Oskal Singing teacher: Inger Johanne Oskal Extras: Ida Sofie Klemetsen Gaup, Ine Buljo, Sárá Gáren Ánne Nilut, Emma Sofie Joma Rustad Costume designers: Galina Urusova Valio, Inger Hallström Stinnerbom Make-up artist: Mette Noodt Patination scenography: Niklas Engvall Graphics designer: Kerstin Degerlund Photographer: Jakob Jakobsson Producer: Elle Mari Dunfjell Oskal Published 05.11.2024, at 11.39
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“Ædnan” by Beaivváš – news Culture and entertainment
