Maybe it’s a coincidence, but when Trøndelag theater decided to show Henrik Ibsen’s historical drama “Kongsemnene” now at the start of 2024, they couldn’t have been more spot on. The premiere coincides with the start of the national law jubilee. The National Law and the “Kongsemnene” have everything to do with each other. Armour, bowler hat and hand puppet – everything will be included in Trøndelag theatre’s projection “Kongsemnene”. From left Hans Petter Nilsen (Earl of Skule), Fabian Heidelberg Lunde (Baard Bratte) and Arturo Scotti (Håkon Håkonssønn). Photo: Vegard Eggen Game of Thrones “Kongsemnene” is about the power struggle between Håkon Håkonsson, the baby king who was saved by the birch bones, and his guardian, earl Skule – as well as about a power-hungry bishop who pulls the strings he can. The game for the throne is as follows: Håkon and Skule both think they are royal, meaning that they have a right to the throne. Håkon becomes king after his mother has carried out iron burden (drilling red-hot iron without being harmed by it) to show that he is the king’s rightful son. Jernbyrd saw a kind of God’s seal on the truth, there is nothing that can be said about it. But a sly and headstrong bishop knows how to cast doubt, and “Game of Thrones” is underway. Håkon Håkonssønn becomes king of Norway with the help of cunning and iron burden, and he is satisfied with that. Arturo Scotti as Håkon Håkonssønn is here told secrets from Gregorius Jonssønn. IRON BURDEN: Inga from Varteig (Ingunn Beate Strige Øyen) carried red-hot iron across the church floor to show that her illegitimate son Håkon was a real king’s son. Little did she know what she would set in motion. Jarl Skule (Hans Petter Nilsen) is portrayed by Ibsen as a villain plagued by doubt. In the vision, he turns himself into a clown, hence the bowler hat. Nilsen plays a strong role. Behind the horse: Fabian Heidelberg Lunde. This is where Magnus Lagabøte comes in. He was the son of King Håkon and grandson of earl Skule, and he had probably seen how much the iron burden and the ensuing power struggle had destroyed in his own family. So in the land law of 1274, iron burdens were abolished. Power-hungry men Not to confuse: Ibsen did not write about the national law, but about the struggle for royal power between Magnus Lagabøte’s father and grandfather: Håkon Håkonsson and earl Skule. Ibsen of course psychologizes, making Håkon an upright and good man, Skule the imperfect and doubtful villain. What is the royal power worth? One can wonder after seeing Henrik Ibsen’s play “Kongsemnerne” performed at Trøndelag theatre. Here: Arturo Scotti as Håkon Håkonssønn. Photo: Vegard Eggen The Russian director Yury Butusov is also not shy about drawing parallels to power-hungry men in our time, among other things in a Putin-inspired long-table parody. The four-hour show is full of whimsical, fresh scenes and good acting, but would undoubtedly have benefited from a longer trial period. There are several scenes where the stage curtain is drawn and two funny courtiers put on a show and explain the action to the audience, while you hear the rustling and scraping behind the curtain for yet another scene change. Henrik Ibsen was born in Skien on 20 March 1828 and died in Kristiania (Oslo) in 1906. He is the Norwegian author who has achieved the greatest international spread. He never wrote a novel, but 30 short plays and just over 250 poems. In addition, he had around 100 articles, articles and messages published in contemporary newspapers. Ibsen had his big international breakthrough with the play “A Doll’s House” (1879), but his major works also include “Brand” (1866), “Peer Gynt” (1867) and “Ein folkefiende” (1882). “Kongsemnene” was written in 1863 and is one of Ibsen’s historical dramas. The plot spans from 1223 to 1240 and large parts have been added in Trøndelag. Paus and Boine In terms of form, there are also many jumps. The start, where the problem is to be explained to the audience, is played in a tableau where the actors move in slow motion while they shout their lines and the wind blows across the stage. In a way it’s exciting, in another way it doesn’t open up the story for the audience. Who are our sons? Our men? The women complain about the losses caused by the war, as they do in several places in Europe now. From left: Emma Caroline Deichmann, Ingunn Strige Øyen, Madeleine Brandtzæg Nilsen and Synnøve Fossum Eriksen (Byborgere). Photo: Vegard Eggen The presentation jumps and bounces between different expressions, so does the music. Sometimes he seems to be unmotivated, familiar songs come on and off sharply. Two musical selections stand out: Ole Paus’s interpretation of “Klippe, du som brast for meg” to a raving and dancing bishop Nikolas. The other is the Sami artist Mari Boine, who lies like a sound curtain under the projection. Several central scenes have tonality by Boine. It gives a different perspective to the history of Norway: Håkon Håkonsson wants to unite the kingdom, make it one people – but the Sami people are not mentioned. Mari Boine reminds of the string from Peer Gynt, those who rustle in the wind and say “We are singers, you should have sung us”. It does not go the way of Skule jarl, something that is also reflected in the scenography – even if the piles of car tires and other objects do not quite come to their senses as the foresight was at the premiere. Hans Petter Nilsen (Earl Skule), Fabian Heidelberg Lunde (Baard Bratte) and Isak Holmen Sørensen (Paal Flida). Photo: Vegard Eggen Sindsforlating disco Hans Petter Nilsen makes a strong Skule earl. Thomas Jensen Takyi’s bishop will probably be talked about, looser hips on a bishop will be looked for a long time. The mix between humour, tableaus, mime, dance and physical play creates something unfathomable and interesting in this version of “Kongsemnene”. The team of actors play out the idea to the director, but the idea is not well enough kneaded together yet. It’s a shame, because the foresight has in it to be really, really good. A good ensemble throws itself into Ibsen’s “Game of Thrones” – in a whimsical Russian direction. Back from left: Snorre Ryen Tøndel, Per Bogstad Gulliksen (Gregorius Jonssønn), Emil Olafsson (Dagfinn Bonde), Hans Petter Nilsen (Earl Skule), Arturo Scotti (Haakon Haakonssønn), Ingunn Beate Strige Øyen (Inga fra Vartejg), Synnøve Fossum Eriksen (Margrete), Madeleine Brandtzæg Nilsen (Mrs Ragnhild) and Thomas Jensen Takyi (Bishop Nikolas). Photo: VEGARD EGGEN But it is not difficult to praise the theater for throwing itself into this project and leaving it at that. They must have to do it fresh and fearless. There is a lot of value in today’s theater landscape where it is easy to choose the path of least resistance. And: Where else should one go to get a forgiveness disco, if not to Trøndelag theatre? Anyone who likes the middle ages and power struggles and doesn’t go out of his way for Ibsen in a fresh breeze should get to Trøndelag theater as soon as possible. news reports Title: “Kongsemnene” By: Henrik Ibsen City: Trøndelag Theater Performance period: 2 February to 15 April 2024. Cast: Arturo Scotti, Ingunn Beate Strige Øyen, Hans Petter Nilsen, Madeleine Brandtzæg Nilsen, Mrs Ragnhild, Synnøve Fossum Eriksen Director: Yury Butustov Scenography and Costume Design: Aleksandr Shishkin-Hokusai Lighting Design: Eivind Myren Makeup Artist: Marianne Aunvik Dramaturg: Mina Rype Stokke
ttn-69
“Kongsemnene” by Henrik Ibsen at Trøndelag theater – Reviews and recommendations
