Some of what I have noticed about the Sami stories and the Sami culture as I get more familiar with it, is how nature has its own voice, its own room for action and an independence that is shown great respect. Both in stories that have traveled between generations, but also in the case where a sacred stone creates trouble when you don’t listen to nature. It opens up space for something inexplicable, but also shows how all living things are connected. If one agrees with that idea, then nature can also take revenge. It is the starting point for the play “Eadnemáddu” by Siri Broch Johansen, which will be performed at Det Norske Teatret now before Christmas. Strikingly beautiful It is the first time that Det Norske Teatret has done such an extensive co-production with Sami artists. “Eadnemáddu” is a very good vision, serious and funny at the same time. First of all, the scenography is strikingly beautiful. Pink reindeer skins hang from the ceiling, which in themselves are like sculptures – in addition to being loaded with meaning. SCULPTURES ON THE CEILING: Pink reindeer skins hang as installations on the ceiling. Photo: Dag Jenssen / Det Norske Teatret Skinna is buzzing together, and they are reminiscent of artist Máret Ánne Sara’s contributions to the Sami pavilion at the Venice Biennale this summer. Among other things, Sara hung up dried reindeer stomachs in similar formations. On stage 3 at Det Norske Teatret, the rail hangs as a beautiful but threatening warning, and testifies that something bad is in store. A story of abuse The actual presentation of “Eadnemáddu” is set in Vardø, one of the oldest towns in Norway. After an assault, a young man (Ole-Henrik Bjørkmo Lifjell) travels here to start over, and helps plan a festival in the town. NEW START: Ole-Henrik Bjørkmo Lifjell plays The Young Man. Photo: Dag Jenssen / Det Norske Teatret The festival will celebrate the tiny rowan tree that stands in the city, a tree that does not belong in the arctic climate zone, and with it honor all the sardines that “stand by”. Right next to the tiny roe is also the witch monument in Vardø. The history of abuse in this play spans from the witch trials in the 17th century to the abuse that haunts The Young Man. Want revenge Sara Margrethe Oskal plays the title role, eadnemádduen. Through the vision, she is transformed from mother to vengeful foremother as if she were a Hamløypar. “Eadnemáddu” is a word that does not actually exist in Sami. It is made up of the word for mother, eadni, and the word for ancestor, máddu. According to Sami mythology, all animals have an ancestor. If you hurt a small animal, the animal’s progenitor will take revenge. Eadnemáddu here evokes an ancestor of all mothers. After the assault, she wants revenge, and follows The Young Man without him knowing. She prays for a great sorrow, and in the play she and nature, fate, eadnemáddu, take a striking revenge. VICTIM: Oskal, like the afflicted woman, brings with him a heavy scourge, here symbolized by reindeer skin. Photo: Dag Jenssen / Det Norske Teatret Dark and courageous Director Pia Maria Roll has been best known for the show “Ways of Seeing” – but she is a recognized and award-winning stage artist who has several good shows behind her. Here she relied heavily on the joik, the lighting and the scenography. Already in the first scene, she takes her time, letting the low joik ring and the light fall on her shoulders (symbolized by reindeer skin), while the rest of the scene is dark. On the whole, the lighting design is brave, not least in the way it uses the darkness. The text flows well, even if the action can be a bit difficult to grasp. DARK: Oscar, as it plagued the woman, and the reindeer skin. Behind stands Kirsti Stubø, who, among other things, has the role of the rowan tree in Vardø. Photo: Dag Jenssen / Det Norske Teatret Overnaturleg Oskal, like the afflicted woman, carries with it something heavy and dark. This gets a nice contrast in Kirsti Stubø as the rowan tree, lively dancing with a bare trunk. Joachim Rafaelsen and Niklas Gundersen are the two vardøværings who with a lot of humor manage how they will be able to create their own festival in the city, and Den unge mannen is therefore the one they put their trust in. When the tribal mother in the form of a reindeer-clad being confronts him, the disaster is over. Something supernatural interferes with the roe festival, and the foresight peaks when the máddu intervenes. SOFT: Eadnemáddu is a word that means “ancestor of all mothers”. Dangerous, but also soft. Photo: Dag Jenssen / Det Norske Teatret Strong and alive Here scenography, light and sound take over the narrative, and here the visuals of the projection are beautifully resolved. It is as if a multitude of feelings burst forth, from injustice against women in the 17th century to injustice today. For playwright Johansen, the young man and the woman are the only Sami characters. In this, criticism of injustice – done against Samar – clearly emerges. At the same time, it also shows that all people can make mistakes. What has been awakened cannot be brought back. “Eadnemáddu” is a strong story about losing and about correcting wrongs so that one can move on. The story itself slipped a little in some places in the storyteller’s grasp, but the vision as a whole is strong, alive and artful. news reports Photo: Dag Jenssen / Det Norske Teatret Title: “Eadnemáddu” City: Det Norske Teatret With: Kari Stubø, Niklas Gundersen, Joachim Rafaelsen, Sara Margrethe Oskal, Ole-Henrik Bjørkmo Lifjell Director: Pia Maria Roll Composer: Ándaris Rimpi Dramaturgar : Pia Maria Roll, Kai Johnsen, Anders Hasmo Scenographer and costume designer: Hege Pålsrud, Márjá Karlsen, Raisa Porsanger Producer: Siri Broch Johansen Hi! I review theatre, performing arts and dance for news as a freelancer. Also read my reviews of “Kristin Lavransdotter” at Det Norske Teatret, of the play “Don Juan” at Trøndelag Teater or “Snøsøstera” at Det Norske Teateret.
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“Eadnemáddu” at the Norwegian Theater – Reviews and recommendations
