I think the best reinterpretation of an older work I've ever seen is Erasmus Montanus, which Karin Lollicke made, which we did together at the Østergastfjell when it was playing there.It actually came from Aarhus Tater.
Yes, and we saw it too.Did you see it in Aarhus?
Yes, I saw it when they re-recorded it with Emil Printer in the lead role.
Yes, I can understand that.It was also pretty wild.What is the best reinterpretation you've ever seen? I had several excuses.
First I wanted to say Romeo and Juliet, Elisa Kragrup, but I think Metamorphosis by Elisa Kragrup is... The show we always mention as the best show ever.The only show where no one can beat it.
I could have asked you anything you would have said, Metamorphosis.
What was the coolest body movement?
I think it was Metamorphosis. It's funny that you mention it here, because I also want to say it as the answer to everything, but I can be in doubt if it's a new interpretation.I understand that.
But I think we might be able to talk about that, because one of the things we're going to talk about in this episode is new interpretations, because there are a lot of them.Always, but especially right now.Welcome to this episode of Den 4e Veg.
We've seen an insane amount of theatre in the last two weeks.Not a single musical.
When we wrote down what we were going to talk about, I wrote that there are no musicals.
And I wrote a little weird, because we've talked a lot about musicals. And now I'd like to talk about all the other fantastic theatre, opera and dance out there.We're going to talk about all the performances in this episode.
We've divided it up into a few themes to get around it.And as I said, we're going to talk about new interpretations. In the last episode, we talked about Cyrano at Odense Theatre.
We also talked about Genganger at Husets Theatre, which is also a co-production with Odense Theatre.An Ibsen performance that had received a new twist, where you had made an original bi-character, Regine Stuepien, the main character.
And you can listen to the last episode if you want to hear more about what we think of it.But just to say, they are also found as new interpretations.
But Clara, when I say new interpretations, what are you actually looking for in a new interpretation for you?
I think my immediate thought when someone says new interpretation, then it is a work that exists in writing and is old and is a kind of classic or something like that.And then a new version is made for a modern audience.
It's funny, because when you say metamorphosis, I think, yes, it was very physical, and the text was the original translation.They hadn't renewed the text, as far as I remember.
No, but the expression was very modern.For me, it was one of the first theatres I saw that was so physical.And the way it was physical, I don't think it has been for...
I don't know if it was performed 100 years ago, but I think it had a modern expression.Yes, I understand.
What do you think when you say new interpretations?I'm thinking a lot about what you're saying, because there are clearly some ideas where I'm also based on expressions when I think it's a new interpretation.
But usually there are two things I think play into it, and it can be both a renewal of the text or a new interpretation of the text.That's the primary thing, I think.And otherwise there's a...
A new interpretation of Lukio, which is also what you say about the visual expression, but if you, for example, have put Romeo and Juliet in modern times, I would say Baz Luhrmann's film is clearly a new interpretation of Romeo and Juliet, because suddenly there are pistols instead of swords.
And then I thought, okay, they did Romeo and Juliet on the royal, Elisa Graubhub, as you mentioned.
I thought, of course it was a new interpretation, because there was something with a new language, there was something with a look that was a little more abstract.They played Sia, Chandelier on the piano.
But then again, it was a pretty classic expression in costumes and stuff.
I saw Romeo and Juliet at the Venice Film Festival, where they had made music to it, which was jazz music by Benny Minkoppel, and which Molly Koppel sang.
Of course, that gives it a new expression, that they have put some of the core lyrics in the music, in a way.But the rest of the performance was a Niels Bruns' translation, and the look was fairly traditional, I would say.
So you wouldn't call it a new interpretation? It's hard to say, because yes, there's a new layer in the form of jazz music, right?But not as wild a new interpretation as I think, that something like Anna Karenina they play on Republik right now.
Because I've been wanting to see this one since last time. And compared it to the last time we talked about it.Because there's something about this... It's a feminist agenda that has been laid down over these stories.
Anna Karenina has always been about Anna Karenina.But her desire is clearly written much more forward in this representation of the Republic.So there is an exaltation of her and her desire.
I've been to see a dream play, August Strindberg's classic text.It's from 1907.It's played by Anna Baltslev, who's an instructor, and Laura Løve, who's a scenographer.They play it in a translation by Benny Andersen.
It's been reworked, but it's still an old text.It's not a new text on the old text.It's set in a court. It's not traditional, but it's not out of date either.It's a very modern expression.It's a timeless expression.
But I'd still say it's a new interpretation.Tell us more about it.What kind of show is it?Tell us more about why it's a new interpretation. Anna Balslev is really good at taking classics and reinterpreting them in one way or another.
We saw Don Juan last season, and she has really made some classics that are a source of pride at the Bettinandsen Theatre.And she's really good at making a classic story relevant, or at least interesting, for a modern audience.I loved Don Juan.
Yes, but I can also remember, and we can get to that, I can also remember that we talked about that it was a crazy good experience, a crazy good show, but that it maybe didn't make us crazy much.No, it was crazy.There was pride and prejudice.
Yes, it was also just a good show.I understand what you mean.And actually, I have the same thing with a dream game, because it's all about this goddaughter Agnes, who comes down to earth and has to experience what it's like to be human.
A little Alice in Wonderland falls down a hole and is captured for a while, To walk around the earth in a kind of dream.Everything is very abstract and absurd.Things happen out of the blue.A house comes down from the sky.A castle grows down.
It feels like being in a dream.I can't explain how I came from A to B, but suddenly I was at B. Did you know Dømmespillet in advance?I knew it, but I didn't know it in depth.I had to go in and check out what the classic story was, what was here.
And it's still a crazy classic text, and maybe it's not more than 120 years old, so it's not that old either.
It's from the last Rindbad period, where you get a little more... What can you say?A little more sick.
Yes, and he's known for doing some wandering dramas and stuff like that.It's a journey from A to O, and there's a lot of, what's it called, obstacles in the way.
But the set-up they're doing on The Royal right now is a Benny Andersen rework, or a Benny Andersen translation, and then it's Asta, Karma, August, who plays Agnes, who has a really nice... banality or newness.
And just like that, it's broken down and becomes an ordinary human being.Yes, she says a lot, it's a sin for humans, right?Yes, it's like her main line all the way through.
And every time she says it, it becomes more and more like, they have it really hard, these people.It's really a sin for humans.
And then the renewal that is with Anna's performance is that it is a performance that has a lot of music, as Marie Killebeck and Victor Dale have done.Marie Killebeck is on stage, sings like an angel. It's really beautiful.
And then she has two dancers on stage, Sebastian Klobård, who is in many of her things and choreographs many of her works.
And then the ballet dancer called Maria Koshetkova, I don't know how to pronounce her name, but who is a crazy talented ballerina.A world-famous name.Yes, and she is insanely talented.
A tiny person on this stage, and then Sebastian Klobård, who is just... And they have created a choreography for the piece, and it all comes out of acting, singing and choreography.
And when those three things are there together, and it all happens at once, then the performance is ready.Because I think, as we talked about with Don Juan, that it's an incredibly good performance.
I really enjoyed those two hours, they just fly away. But I'm not saying that I've learned something, or that I'm going to think about it for a long time.I'm going to think of it as a beautiful performance, and as a good performance.
And I think that's what these performances are sometimes supposed to be.It's just to be a good story for a modern audience, and maybe a little more accessible than some of the other performances. And she's insanely good at that.
But I also want to see Anna do something else at some point.Is there something she means or what?No, I think she means something 100% with everything she does.But I want to take her out of the classics.
I want to see her do something weird out on... I don't know... I don't know.You know, just give her something else that doesn't necessarily have a classic, because I just know she's incredibly good at that.And I think it's a really nice novel.
And I think it's going to be released on the 12th of November at The Royal.You just have to watch it.It's really fun.A bit like Don Juan also had that huge melancholy.But also a really funny character.
But Clara, I'm also thinking, what is a successful novel for you?Should you like... What can you say? get something new from the old text, or understand the old text in a new light for it to be successful?Or what do you set as criteria there?
I think often we talk about something like this, why do you want to make Romeo and Juliet?Why does it give the classic a meaning for us to make?Why does a dream play give meaning to make?I think it's about seeing the work in a new light.
That's also why I think Romeo and Juliet in Lisa Kragrup's performance was fantastic, because I understood the text much better than I did before.Suddenly I understood that childish, youthful love.
It was the first time I saw someone be so young in that way.And be able to put myself in that situation.And I don't think it's because I'm like, wow, classic, and it's just my favorite thing to see.
In reality, I'm a little like, yes, yes, they're doing it again. And sometimes we get surprised, and it can still happen.But the classics can always do something, and that's why they're classics.
But I need it to tell me something new, or at least modernize the text so that it's about a modern human being, and not just a classic to be a classic.
I sometimes think that if you're renewing a classic, you have to do it with a reason.You have to have a reason for it.And you can say that as a returnee.Liv Helm, who directed it, has a clear purpose in making the housewife the main character.
You can make a clear feminist reading of it. But I don't think you can let it stay that way if you don't renew the rest.Because I have to understand what the text is telling me.And sometimes I think that new interpretations work if you also...
to update the text so that it fits a more modern audience.And not to say that it should never take place in the 1800s.Because it should.
But my criticism of the Renaissance was, for example, that they still stuck to some of those very naturalistic 1800s things.
Yes, you mentioned something about a prose.
Yes, that there's still... They don't do anything to explain why he has the power he has.And it's not given that a modern audience necessarily understands the cultural and the power meaning that position actually has.
So sometimes in the old texts there are things given that should be translated for a modern audience if you want to know something about them and not just want to make theater for the knowledgeable.
And with Anna Karenina, for example, on Republik, it's Amanda Linea Gindman who has directed it, and Mikkel Råstrup who has made the screenplay.And in that performance, they have cut a lot of the original text from it.
So Leif Tolstoy, who has written Anna Karenina, there is a lot of text that is about explaining Anna and the other characters and society and blah blah blah.I haven't read it, I've just read about it.Have you ever read Anna Karenina?
I have it standing here, but it's simply too thick for me.It's gigantic!
And I bought it in English.It won't happen.I want it now, because now I'm going to read it, because it's a work I've only read about and seen the film from 2012 with Keira Knightley.Yes, exactly.So you know the story well.
In Republic, it's the Swedish dramatist Tone Sjøneson's reenactment, which he plays in Swedish.It has never been found by a woman like Anna Karenina.
So this version has been played in Sweden?
Yes, and I got a pretty good response.It's also her who wrote, Dane, Dane, Dane, they played at Revolver last year.
And I saw that someone like Amelia Langeballe from The Weekend Magazine wrote, I hope you secure your rights to her edition of Anna Karenina. And that's what they would have done.But it's a text that also updates the language in Anna Karenina.
It's cut all the way to the end, just to talk about the triangle drama.That's what it's all about.It's about a triangle drama between Anna Karenina, her husband, and her lover, Vronsky.
And there's not much more to it than that it's Anna who gets a lover killed by her desire.
This desire is screwed up to 10,000, and then she suddenly discovers that it might not have been as cool at the other time as she thought, when everything else around her falls apart, because she sacrifices everything for desire, right?
But then the language has been updated, so they say fuck many times, and at some point she says, it's a wack god you believe in.
Does it work?Because immediately when you say those things, it's going to irritate me.It also irritated me.
And because it was a bit inconsequential, I think.Because it's not so thorough.I mean, I have some monologues where she says, I'm a sex witch, she says.
But it becomes a bit akkad when you also keep in mind that it is in our 1800s Russia or something, right? And there are some inconspicuous things in the renewal, because you also renew visually.
Vronsky and Anna go to Italy in the text, to get away from it all and just bang and have fun.But it's set in some kind of countryside, western, where she arrives in a rodeo outfit, and they dance line dance, and everyone has a corporeal.
And there are some choices along the way.Suddenly she also speaks with a thick American accent, because she gets drunk. And for a long time you talk about it like this, and it's super annoying.
And when I see these things, I think a lot about what the instructor wants me to do with this.What do they want me to say with this move?Because I don't think it's very random.
Sometimes it is, but I always try to figure out what they want to say with this.And there are too many things in this, where it will seem too hip and too new, both in language and in look.
And it does it in all kinds of ways that are not very consistent.And I sit back and think, I don't understand what they want to say with this. And I don't understand what kind of woman I should take with me.
What do you want to highlight in Anna Karenina?What would you like to tell me about her?And about the fall she has.And about talent.I don't understand the reading.So I was thinking, the interpreter in so many ways.
And the interpreter, maybe just for the sake of the interpreter, it also sounds a bit like... Yes, when you say whack, God.
I was like, is it just because you want to have a TikTok-generation to watch it?Because they're going to act like grown-ups trying to make a youth show.And I think it's a shame when it's talented actors who are in it.They do it very well.
When it's a talented cinematographer, I know she's a talented director.But I don't understand what they mean by it.And I think it became a bit flat in the long run.
If we talk about what makes a good new interpreter, if you take a text, like I said, it really needs to fascinate me if we're going to see it again, right?Then they have to mean something.
And they probably mean something, but then it has to be clearer than just being under the covers and being like, we can still tell this story, but in a modern language.
Yes, because that's what happens sometimes, when you get a new language, they think it's enough to say fuck and wack, and then everyone agrees.
And in reality, you just need them to speak completely normal.I can remember with Romeo and Juliet, now we have mentioned it many times, but what happened with the language was that they still kept something of the classic.
But they made it so easy to understand, because they spoke a modern language.And also just said, I can also laugh, instead of speaking in Shakespeare's classic language.
Yes, because that was actually what they did, I think, with Cyrano in Odense, where they play the poetry slam version, which a Brit has invented.You can also hear it in the previous episode.
Even though the translation doesn't always work just as well, and even though it can be a bit of a pain in the ass to have to say, fuck, fucking, fuck, fuck, sometimes, it still made me understand Sihanouk in a new way, because I can relate to what that poetry-slang environment means.
And that thing about using obscene words and battling over who can say the most beautiful thing, where in the episode we saw on The Royal, which definitely wasn't a renewal or a new interpretation, I was also thinking,
I feel that I should have read a candidate-grade theatre story or have watched theatre for 100 years to be a part of this.Then I don't understand what it takes me as a young, modern audience.I understood that better with Ciano.
I had to have a lot of foresight to see something like this.It also had to do with Oreste, which I was in to see.A new opera, based on this classical Greek myth about Orestes.
Do you know it?I know bits of it.I know that Orestes is a thing, and all the Greek tragedies are there.Do I have to hurry up?Yes, come on.I know it's a great work.I feel like it's something you should know and never can know.
It's the king they write about themselves, right? The opera opens with a scream.A bloody Heaven Orgy has taken place.Oreste has killed his mother and her lover.
And then there is Manfred Torhjern's opera, Oreste Begins, where Richard Strauss' Elektra ends when the conscience sets in, dot, dot, dot.Already there you are like, okay, so I have to know Richard Strauss, I have to know Elektra.
Yes, so I went in and googled.Yes, what the hell is up with that myth back in high school?Elektra is in Greek mythology, daughter of Agamemnon and Clytamnestra, sister of Aureste.Nice!
Her creator is a mystery in the Greek tragedy after Agamemnon at his return from Troy has been killed by Clytamnestra and her lover. Argistos expels Elektra from her young brother's life.
The rest of the group returns home to kill Argistos and Clymnestra, and helps Elektra to kidnap their father.So where we are now, they have just murdered.
Their family.It's always like this with grotesque dramas.Know your grotesque drama, or you won't see a grotesque drama.
It's something with a family that has killed another.And that's where it is.So what we get in Orest, which Casper Holten, in E8, has directed, and is a fairly new opera from 2011, got a premiere,
It's about an hour and a half, lovely short opera, accompanied by the sequel to a blood orgy and a family caught in a spiral of violence.And I felt like I should have read the whole show to be a part of it, because all the blood in you happened.
Okay, so you don't get to see all of it, because when you immediately turn it up, it's like, I have to see a... No, there's just a letter, and when you open it, there's a big sofa in what looks like a New York apartment.Almost like an atelier.
And then you understand, no, it's a modern setting.So that was good.It's set in newer times.What's that supposed to tell me?Because there are still gods coming down from above, who turn into something else, as is also the case in grass mythology.
And I have to say, it wasn't worth it to be in that New York apartment, because I was like, what the hell am I supposed to do?And I just have to say, I didn't get anything new out of that old Greek myth.They sang absolutely amazing.
And it was, in many ways, a pretty big experience to get to experience, his name was Christoph Paul, who is such an international opera star, who sang Oreste. And they are strange.
But I just don't understand... I just don't understand what it means to me that the old Greek taget was put in such a modern look.
No, I can't see it for myself.Do you remember, there was a series on Amazon Prime a few years ago, which was set in New York, somewhere in America, where an ordinary man was met by Greek gods, who came and turned into all kinds of stuff.
It sounds like it.If they can't tell me why we're in this weird New York apartment, and why there's still a graveyard. All of a sudden I realized that the only way out is through a cemetery.
I was so confused and bored.Did you come to a conclusion about the meaning of this new interpretation?Not at all.Or does it just feel like we're selling it because it's modern?
Yes, it felt a bit like that.It was a bit like, now we just have to make modern opera.And there is definitely a meaning to it.But I also become a bit stubborn.
You should not have read the program to get a big performance.
I always think so, also because the program costs money.
It is sometimes a bit the problem with opera.Yes.
With a good opera, you have to be able to understand what it's about with a couple of brain cells and the desire to read the subtitles.At least in a rough way.
And yes, you also understand that he has hit someone in the helmet, because there is so much retelling in this.And it's so much like, what is the psychological game I have to understand when it's the sequel I'm going to see?
Then there just weren't any roads, I think. I also think it's interesting that you can't just put it in something modern.No, to make it modern.No, and expect people to just understand.
Ah, that's how it is now.
I feel like I needed support, Julia, so I didn't get to give it here.I understand that well.It was great, but...
Maybe it's okay.I didn't come to see it.I was in Aarhus last year.I think you got more out of me.
The last week has been an insanely tough week for me.Are you ready to hear about it?That you've been tired?I've been so tired. It's a bit sad to say that it's been a tough week, but I haven't been completely up and running.
No, but there has to be room for that.I love it when we make everyone happy.And you know what, sometimes you have to be challenged by what you see, and I have been. My patience has been challenged this week.
We started the week together, ready to watch In Case of, in the Royal Theatre, in the middle floor.It's a good old Howard Barker, who writes some pretty violent texts.
This is also a brutal text, In Case of, which Henrik Grønbæk has made a staging of in Christian Friedlander's filmography.
four actors on stage, is it just... It's not just different texts, but different depictions of the reality of war, where... I feel like it was one long performance, where they took out all the death scenes from different other stories.
It was one and a half hour's worth of death.
Yes, and horribleness, right?And brutality.And I think it started so well, when there was a strong wind blowing on the audience.The stage is like a big ceiling, so it's like a big, pfff, that's in front of you.
And then there's a strong wind blowing, so it gives life and blows on the audience, and then there's a roar, and suddenly a grenade explodes.
When that smoke came out towards us, I thought it was one of the most beautiful effects I've seen in a long time, because it felt like the whole thing took over us.I thought that was really beautiful.
I was like, okay, this is going to be great.Also because I thought the first scene was pretty cool, that the actors were just under this cover, so we just saw their silhouettes.They were in the process of sewing a carpet.
It was about this family who had to keep working, even though the city they lived in was under attack. And you hear those grenades and rockets, and you shoot at them.
But with the crisis reality we live in, and the current of news we live in, you catch what's going on very quickly.Apropos talking about a news story, you can't talk about it in a time that the audience understands, by instinct.
But from there, it's just a matter of running in circles for a really, really long time.
I spent a lot of time trying to figure it out, because I quickly understood what it was about the syllables.But I also spent a lot of time trying to figure out if it was a chronological order, or was it something to do with Jesus?No, it wasn't.
I kept trying to find a red thread other than just that the red thread was horrible.And then I kept trying to put the characters across, because it's the same four actors who play them all.So I had a really hard time...
It was really hard to find out where to focus, also because it was a crazy tone play all the way through.Tom Jensen shouts in his first line, he shouts in the last film.I was so blown away when we left.
Weren't you?Yes, I was.But it was also because I felt a bit... In a way, it was a bit like watching a news stream, because you also experience a state of alertness.You become a bit apathetic in a way.
Sometimes I think, it's not healthy that I feel so little for the horrors I see in the news.And in the same way I had this.It just peaked from the start.And from there, I was just attached to a feeling of apathy.
Which, when you think about it, can have a pretty cool effect, because it's quite late, I think, in how we deal with these crisis realities.But I also think it got a bit boring in the long run, because there were no twists.
It was enormously monotonous, I think.
And you didn't have to learn to recognize it.There was no connection in any way.
I don't think the text was allowed to blossom in it, because it was just the violence that was forced, in a way.
I told a friend that we were going to see this show, and he was like, I think it's only Howard Barker who can make Howard Barker.In reality, it's probably just Howard Barker who has to make his own shows.Maybe it's because you can't break them all.
I also saw the Europeans a few years ago at Teaterøen, and I remember having the same feelings. I can't relate to anything, it's going too fast there.I don't understand the context of this work.But I can see on paper what the text is capable of.
And I can understand why they're doing it.Yes, I can understand the desire to do it too.I just came to sit and watch.The two of us came to sit and watch.There was a real couple in front of us, on the rows in front of us, who played their own acting.
I was completely paid by them to be theirs. The relationship was that they were sitting with two chairs in the middle of the room.They were supposed to have sex, but they were together, and she had her overcoat on throughout the performance.
She didn't like it.She signals very clearly, so I think both the audience and the actors on stage could see, that she wanted to know what time it was.
And when it was over.She points so clearly at your face and says, the clock, Karsten, the clock.And then up to it.When are they done?And the water, can I ask for water?Can I ask for water?
And pistils, so I can have the rest of the water.
It was almost like... The time went by for me, because every time they moved, I was like... What are you doing?
What are you doing now?An act.It's actually a long time since it happened.Almost not since I sent the morning radio, and there was a natural reason for me to fall asleep sometimes.Because I didn't sleep.But I had such a hard time getting up for this.
I also sometimes closed a single lie.
Yes.And I'm a little sad to say, because it's actually rare that it's like that.But it's been like that twice this week.Okay, there's more.
I thought I should go to the Nørrebro Theatre and be happy, because it was called Time for Joy, so I thought, perfect!Perfect!Suitable for me!It's time for joy now!
It's time for joy for me!I was not happy!I've only seen the pictures, but I can see that there is not much joy in it.
But I think that's also a point.There's a lot of bad judgment in it.
Okay.I can start by saying that it's a Norwegian dramatist called Arne Lykre, who wrote it and the text is from 2022.Madelene Rønnhjul is the director.Laura Rasmussen has made the screenplay.
And it's in a way an incredibly typical Norwegian theater under Mette Wolf.It looks really great.It's something with a lot of actors on stage. It's not always that the text can follow, and the plot is as exciting as the look.
That's what it was called.The plot is complicated, I have to try to explain it, because it's weird and mystical. We are on a beach in Førstdagt.A mother and her daughter are diving.The daughter has come home after a long time abroad.
The mother wants to show this fantastic beach where she just loves to be.They have to have a moment.They are waiting for the son, i.e.the daughter's brother, the twin brother, to dive. And they wait for him.
While they wait, a neighbor appears, who has just left his wife.The wife also appears.An angel appears with her two sons, who are there because the deceased father wanted to be buried on that beach.So they fight for the place on that beach.Finally!
The twin brother, who is played by Peter Christophersen, dives up on the beach.He's strange.He's strange because he wants to disappear for a while, he tells them.He wants to leave and be himself.This brother has a male boyfriend.
At first, it seems that it snows on the beach, and Peter Christophersen sits in a big blue sweater with his arms above his head, pulls his neck up on the sweater and disappears.
I don't know if it's a spoiler, but I'll have to explain what it's about.When the second act opens, he's in the same picture, in a new set, but his sweater is red.And now he's the ex-boyfriend.
And all the actors reappear in this brother's apartment of different surroundings.They're all wearing the same clothes as before, but in red.They had blue clothes on the first act.And now they're characters in the boyfriend's life.
who are total opposites of who they were before.
So someone has changed gender, the woman before was a widow, the wife is now a widow.
Okay.Direct change.Okay, I'm ready.
And then you're at a party in that apartment.And that's it.What?That's what happens in this one.That's it?I don't understand.There's something missing?Yes, but... Listen, I just have to say. I didn't get it.
I also don't get it immediately, other than that it's a everyday scenario.
It has to be something mystical about finding yourself and finding joy in the dark, because we're all affected by some kind of misfortune. These people.There's something bad going on in their lives.And now it's time for joy, they say a lot of times.
They're looking for joy.And all these people who meet on the beach.Do they find joy in each other?
Do they learn about joy from each other?No.
They interact a bit, but they just disappear a bit.It was a mystical text for me, and it was incredibly, incredibly still.There's not a lot of action on that beach.They just stand there and talk to each other.
I've reached, while you were explaining what it's about, I've reached to learn all kinds of other stories that could be in it.I've reached to be like, they meet on the beach, because they all have to want the same thing.They have to commit suicide.
Not at all.No, no.And it's a funny thought, that you're in a mirror, in a different way, while the cinematography is just... It's something completely different.It's not even a reflection of the beach.We're just in a square.
It's a very naturalistic beach in the first place.Except for the fact that it's red, but whatever.And in the second place, it's a square. Yes, you gave up.
I do that many times.But listen, Danne from 2022.Is it a corona show?
Are we in that it should tell us that even in the darkest times, as you just said, and a time we have just gone through, where we were each for ourselves, everyone, there is also joy?
And even now, even in a time of war, and with hurricanes that take over the whole US, climate that is being destroyed, is there joy?
I don't know. Tine Gylling is funny.She's wearing worn-out sneakers.No!That was the only thing I could think of.It's an old joke.We once had a jingle where Tine Gylling said, jump in your worn-out sneakers and join the theater.
And she came in in blue sneakers.Perfect.Funny.Good.But Tine Gylling is wonderful.And it's not because the actors are bad in it.It's lovely actors.That's the rule.But I just have to admit.I said that.And I missed some action. Okay.
I feel so bad when I say this, but... Well, it happens sometimes.
I've caught it.Should I tell you about my week?I have something more to say.Because I've actually had, since we last recorded, a great week.And also in case of... A great week.Bring it on.
I started by going to Aarhus last week to see the shows you've already seen and rose to the skies.I loved Faith, Hope and Love.And you know what?What I loved the most was actually just seeing an ensemble that is so well-played.
And I think it was so moving to see a whole cast just play so well together.Sing fantastically and just like this joy. I had my mother-in-law see it.She loved it.What did you say?I said, broken e-mail too, no?No.
But I think he is... Then we can't talk about it.No, but no, I think he was really good.I think it was very touching.I loved having my mother-in-law.She read it at the seminar.I wrote a headline and gave it to her.
She could have commented on it too, if they said something that wasn't said.I love women who comment on things.
They were also there for fun.I love it.
It's about investing in a show.And then I saw the one you didn't get to see out there, who plays on their studio stage.It's very short.I think it plays a day more when this episode comes out.
But I would really like to send people away to the studio stage this season.In this season, it's the makapar called Karoline. Aurette Son and Josefine Torsø.Karoline is an instructor and Josefine is a scenographer.
And they have a studio scene in this season, just like Laura Løve and Syd Johannesson had in the last season.Out of their first show. It's about a young man called Mads, and he doesn't know what to do with his life.
His mother and friends don't understand him, so he wants to go on an adventure.Alone, and he wants to go to Norway. So out there is a story about him, that also tells how his trip to Norway went.
It was 120 days, this trip, and out here he finds the freedom he couldn't find anywhere else.And I don't want to spoil it to those who haven't seen it, but the apropos melancholy on stage, it was so...
The touching and melancholic Thorbjørn, who plays Mads, whom I haven't seen play in anything before, except for VisuEd, which was his internship last season, was so up-to-date.
The studio scene was always rebuilt, because it's just a room that can do a bit of everything, you have to do a bit of whatever.I've seen so many different all-encompassing universes there.
And here we're just sitting at a boutique in an unknown place, and he's standing on a small platform with his guitar and sings acoustically.I sat there with my face in my hands and looked at him.I thought it was so nice and so cute.
I think there were 30 people in that performance. It's about going out and feeling freedom, and see if you can find yourself out there, or if you actually had all kinds of love and freedom at home.
I have to find out if anyone has seen the show and knows if it's a real story.Because it ends with a quote from someone called Mads, where there is both a start and an end date. There's a quote from Mads Kjergaard, I'm just saying.1975-1998.
There's no mention of a story that takes place in the 90s.But it ends with this quote and a possible death sentence.I don't know.Did you read it in Aarhus Statistics?No, I didn't.But it's in a new work by Digte Hormøller.
So if anyone knows it, please let us know.Because it does a lot to the ending, I would say.It sounds almost like Into the Wild.Do you remember it?No.The movie?I can't remember it.Or I can remember the movie, but I haven't seen it.
No, you haven't seen it, of course.But it's a real story, where she leaves the society.
It was like going out where nothing is, sitting in a cabin somewhere, when it's ice cold.Suddenly he's all alone.But if this is a real story about someone dying, then it does something to that conclusion.That's what I want to hear.
It's like in The Wild You Are.There you see the picture of the real man.
It was very sad in the end. I think you should go in and see what's going on on the studio stage.They're making Kirsten's Garden, Bjørn Rasmussen's latest novel, which I read recently and I'm really looking forward to seeing it.
It's Clara Philipsen who's playing Kirsten.You just have to see it.But listen, the studio stage is awesome.
It's so nice.But it's down there that there's room for the experiments.And I just think it's so nice that it's new talents or new stage artists who are allowed to just play. About us together, right?Yes, exactly.It's so nice.
Speaking of playing together, Clara, there are also two theatre groups playing on two stages in Copenhagen right now.Svart Sandvigled plays at the Beethoven Theater.Long-awaited, super hyped.And Lotion plays their new show, Gilgamesh, on Svartvid.
Do you think we should talk about those two shows?Because I have a feeling we're not quite ready.I think I know we're not quite ready.
I think we should start with the total installation, which is called Gilgamesh, which plays on black and white.And just a disclaimer before we continue.I work at the theater and I'm not going to say much about this show.
I'm not going to have an opinion on it.I'll ask you some questions, I think.You can do that.Interview me about your show.It's crazy exciting, because it's, as I just said, a total installation.The whole theater is included in this myth.
Can you tell us who Lotion is, for those who don't know them?
Lotion is the 10th anniversary this year.It's a performance collective consisting of Anja Behrends, Natalie Melby and Patrick Bavrichter.Then there's been In & Ud, Søskundva and Rybær, among others, who are musicians.
And then they have guests running in their performances when they make a work and then they invite some new artists in.But they have a very collective work form and a devised work form.They're like, we're going to make Gilgamesh.The myth.
I don't know if people know the myth about Gilgamesh. Should I read it aloud?Yes, come with it.
Okay, I have found something precisely because I thought, oh, I do not like all this, all the harassment that should sit around, which I knew I would come to with time to joy.Okay, I'll try.Urmythen, this is from the Black and White Homepage.
Gilgamesh, written down on clay tablets back to 2000 years before our time, is the story of a tyrannical ruler who becomes a lamb when his beloved Nemesis dies, and it is clear to him that he himself is not immortal.
Now they portray the epic myth of Gilgamesh and turn it into a musical total theater.
It's a myth that there are many different versions of.This is one of them, based on Sofus Helle and Morten Søndergaard's transcription of this work. As I said, I work out of a devising format.
It's always crazy messy, if you ask me, but in a superficial way.It's always crazy chitchat.It's always something about food, something that's blinked.
Often something about curiosity, and something about the audience interacting in one way or another.It's definitely something you have to be up to, I have to say.I've been looking forward to seeing you.
I'm sitting there with my big eyes like... Because it's... I don't know, like I said, not for most people.And either you're into it or you're not.Tell me about your experience.
I would say it challenged me a lot.On many fronts, perhaps.On many fronts.I don't think it was good.Can I start with that?There was a lot of it that fascinated me.
I sat down and thought, how cool is it that they exist in Danish theatres, even if it's not good. Then I thought, but I can admit that it's really nice that there are people like them, who dare to go all in on such a crazy work like this.
Then we can talk about how it should be done better if it should have a future.But you know... I think it's cool that they exist.Because I'm not as late as them.And I almost get the feeling of being in a basement in Berlin when I'm with them.
It's so German.I have a beer with me, of course.And I know Nathalie Mellby is super inspired by the things that happen in Berlin.She said that on a podcast.Patrick Baurig, who also has German ancestors, I know.
I don't know if that makes sense, but I get a German feeling when I see it.There's a clear inspiration of something that's not Danish.
It's very non-Danish.I think that's cool.I'd like to be a part of that.It's challenging because it's insanely long.
It's 3 hours and 15 minutes, and it's supposed to be 1.5 hours. I have to say that Dan Haldane said that they could have written more.There is a lot of silence in this work.I don't think it's clear what they want to tell me with this work.
And it's not because you always have to want something as an audience, but because it becomes so extraordinary, and it just becomes like, now we're just going to do something crazy, and now we're just going to do something crazy in this room, then I also lose a bit of...
my desire to interact with the work, and my desire to get involved in what they want to tell me.The first hour is spent in a biography, where they have made a film, which is extremely unpleasant.
And there is a bit of peace with it, but there is a lot of mouth and soil in the mouth.
I can't think of anything that comes out of my mouth after they've done it.
And it's like that with Lozhin and Patrick Bowery, there shouldn't be many minutes before you've thrown up on stage.And it's a bit of a spoiler as well.I'd be shocked if he wasn't happy.He's happy almost the whole first hour.
He's also happy to get up to the audience. Then we go into this huge room in the back, where the whole backstage is converted into a total theatre room, where you can walk around.They call it a forest.– A cedar forest.
– A cedar forest, where you walk around, and it's there for the next two hours. And there's a lot of perseverance between the different scenes.Sometimes I'm quite fascinated, especially by the dancer, Mynte Bjørk Paulse, who is part of it.
She's part of the Holstebro Dance Company.We've seen many different things.
I think she's always fantastic and exciting.But at a certain point, the audience has to help build a raft. And it's just a long time that goes by where eight people just walk around and build a raft.And where some just get destroyed.
I know you can just sign up to be a part of it, but it's terribly boring to be in front of an audience.There's a lot of this that I think is terribly boring.I was challenged in the way that I thought, how long will it take again?Can you go from this?
Because you have to go out.You have to go in and out, yes.And I was out picking up a Danish girl at one point, just to get some fresh air.
I was also out three or four times when I saw it.Okay, that was a long time.Yes, I had to get some fresh air several times.
Yes, but I'm also affected by FOMO, I can feel it.There's also something about them that makes me want to see where it ends, actually.I'm so curious about their madness that I'm like, okay, show me what you can do.
But in a way, I think the madness has become a bit numb to it. Yes, I understand.It felt like a temptation.It was never really dangerous.Or monster-like.
And it lost its effect when it just seemed like it was what they wanted, and the story became a bit superficial.It's a long time just sitting and being a witness to people trying things out.
I just have to say that I didn't get a lot out of it, other than that I was happy that some people wanted to do total theatre, and that some people wanted to do what they do.
Because I think that pushes our stage art in a more fun and exciting direction.
I also think that there is a reason why there isn't more of it.Maybe there isn't enough space for it, and maybe there is a reason why we don't...
It's not that we don't want to go along with it, but we haven't learned to go to the theater in that way either, for so many hours, and also give a stand, or I agree with you on many of the things you say, but I think it's interesting that there's no more of it.
Yes, but it's also because I felt that half of the audience left on the way, so in the end we only sat half of those we started back.And there's something in...
Often with these works, I think they cover themselves under the idea that someone has to go, and that it has to be bad, or that there has to be a standstill.And I can agree that it's fair enough.I think it's funny that they challenge their audience.
But it's also easy to cover up.Because I do that in a way that's unbearable to receive all the criticism.Then we'll never be able to criticize you for anything.And here I don't think it was about what it started in me.
I think it was about the work not being the same.I think it was too imprecise a work that could have worked better.Because I think the potential is there with Lotion.I think they're pretty cool.So yeah, I wasn't...
I wasn't up and calling when I had spent three hours with them.
Were you up and calling when we watched The Dark Knight Rises?Yes, I was.Okay, then I was much more excited.Well, let's talk about that.But I can also see, damn, it's different what people think.It will also be different what you and I think.
And in a way, I understand ... No, there is some criticism I do not understand, which I would like to deepen.Yes. I'll ask you to be the president for that side.But there are also some things I can see, but I think it has affected me in some way.
As it is with stage art.That we can experience it differently, we have to.In short, black conscience, an incredibly hyped group is back.Even those of my friends who don't normally watch theater have tickets for this show.It is completely sold out.
You have to play for two months, but it is, as you say, totally sold out.
Svart samvittighed is a theatre collective consisting of nine women.They played the theatre concert that gave them their breakthrough, white magic, up to DAP.They did pop-up shows in different places.
Then they did Tove, Tove, Tove, which was also a huge success.It was about the life of Tove Dideleusen and based on her lyrics.
And then in 2017, I think it was, they did I Et Forhold in the Bettina Entertainment Theater, which was about being in a relationship. It was a bit more of a selection of texts, but it had the red thread.
It actually looks a bit like what number 4 is, right?
And they say it's a new way of working, to make this mosaic, chalk-like thing, where it's also what they did in a relationship. Here are the new translations and some of the lyrics.
Jeanette Albig, who is the band's musician, has written some of the lyrics and some of the original, such as Inger Christensen and Pia Taftrup.
This time they've worked a bit more collectively towards what it should be about, and for the same reason it's called Black Society 4.I can agree that it might be a good idea to write a clearer title.
Because I think there is a red thread that is about the community and choosing the community, but also the challenge of getting closer to each other in a time where you are very close to yourself.I think there was a clear red thread in it.
At the same time, it was also about being a woman in the 40s, and there is a clear feminist average that is always with them. I was extremely moved by the show, and I laughed a lot in recognition in many places.
I think they have a very special kind of humor that I really like, and that speaks a lot to me, which is sometimes a gag-review-like humor.They have long noses at one point, which is a clear picture of everything we do with our faces.
Which gets longer and longer. Yes, it's a red nose that can be longer and longer, and it can be possible that they are competing as a total plastic corporation, and what do we do about it?
Which is quite review-like, but I still think they have intelligence in everything they do. So yes, I think it was fantastic.I think the songs were really beautiful.I don't think it's the performance they did where the lyrics stood out the most.
That wasn't always the case.They created it better in the second act, I think, where there was also a lot of picture shells. That she has it with.And I love it, because it's the highlight for me.It's her cello.
She sang in a can song, where the others also voted in, but which was about continuing to be grumpy in life and grumpy with each other.It was just a beautiful text.
Yes, but she didn't sing.
Yes, it's about being grumpy and like, take this.Yes. I saw it as an anamnesis.
With Spellthorsen?Yes, of course.That's what it does.Okay, not now.No, no, no, I'm with you.I don't want to spoil the ending, because there may be some people who have tickets, and I think you should be allowed to see that.
If you've read the reviews, you know.You can say that it's written as a headline on most of the reviews.
We'll tell you a little bit, so now you can close if you don't want to be spoiled.
It ends with a duet.And I got that duet.They sing... Do you sing it?No, I don't sing it.I sing it anyway.No, wait, I sing it.They sing... It's the stars that keep us floating, drops of light that bind us together.
The most important thing we have, each of us, is to become each other.It's a Pia Taft song I wrote.
And I just thought it was so beautiful, because everyone was so in tune and stood there and sang with them, and the audience was invited into their community.I cried.I thought it was so beautiful.
But I'm actually quite excited about this show, so I think it's more interesting to hear why you're not, because I'm very curious about what you've experienced.
Yes, and it's going to sound harsh, what I'm about to say.I was quite disappointed.I'm a huge fan of their previous works.So Tove Tove... Yes, so many times.
And what they did in a relationship, as you said, where it became more mosaic-like, took something from them, which I think worked so well with the two... I don't know if you've read much about it, but I feel like I've seen it, which was in Anne Linnet's universe.
What I think worked so well with Tove Tove was that there was a clear story about a person and a time and a woman in an age. And what I think about No.
4, if the title is annoying, is that they open their own show and say, Dear audience, you bought a ticket to something you had no idea what it was.It's about something, of course, but we've also been on a journey to find out what it is.
And I think it was so annoying to just be like, Oh, that's No. 4.
Yes, it's a way to... ...to talk into your own hype.
Yes, and I think that, without comparing in any way, but I think that the so-called black community number four has the same idea.We are still investigating.This is still a journey for us to find out what this is all about.
There is a clear and clear, roaring community in this performance, but I have seen many reviews that are like this, but is it also about this, this, this, this? So I think that title provokes me a lot.
I have to ask, it's a bit of a... Now I said that you speak into your own hype, but it's also to become a bit stupid in your own hype.
It's crazy stupid.In short, it actually has a story in the form of that they are some female spiders on discovery, right?I mean, some strange space-based female spiders, who are on discovery in different depths of a woman's life.
Yes, of course, but I don't think it's going to be a journey of discovery.I think it's going to be a bit like in the beginning, we're wearing women's uniforms, we go into this room, which is very 1960s-like, a woman in the kitchen, dirty.
We looked at what kind of sound it was, and then I think they threw away the journey of discovery.And the rest was sketched.My big problem is that I think it was sketched in front of stories.I think they were chasing a grin.You know what I mean?
All at once. It feels like watching the Circus Revue at home on the screen, but being in the room, I think.And it has a lot to do with the audience, because they are so hyped.
So the audience goes in and just knows they're going to have a good evening.So the audience is ready to be like that.In the second they come on stage, the audience has screamed and clapped.
I think the audience laughed because there was something to laugh about, so I didn't reach the point.I missed it.I had to be like, well, that was funny, before I even got a sense of what it was I was watching.
You know that feeling when you're watching a circus movie and people are screaming and laughing in the audience, and you're sitting at home and like... I don't understand what it is.I feel so excluded from this.That's how I felt a lot at first.
But that's also interesting, because we didn't sit in the same place.No.And that's not how it was around me.We sat in the same row, though.In every scene.
Yeah, but it wasn't... I didn't have an experience of people.You didn't have an experience of people.
Not at all.But don't you think the whole thing was like... I mean, it's crazy and wild.No, not like... It's fun.Not exaggerated.But it can also be the feeling of noticing it, and then it's the only thing you pay attention to.Yes, 100%.
And if you've actually had the feeling of being moved by a work and think it's fun, then it's something else.
I laughed along, but there were a few times where I didn't laugh.There were definitely jokes where I thought it could have been funnier.But you can't expect something to be 100% funny all the time.No, no, 100%.
I just think it was the feeling I sat with, that people thought everything that was said was insanely funny.I just never really thought it hurt.I didn't feel like there was a nerve in it.I still think it's insanely funny.
The beautiful lyrics, the beautiful melodies that Jeanette makes, it's beautiful lyrics.It's just some fantastic female writers and poets and poets they have found.So in itself it is wildly beautiful, and I can see that in the lyrics.
I was so irritated by that beauty thing.I think that was their biggest... Beauty thing?Beauty thing.That plastic Kyoki scene, or Rønker, or the 1960s woman who goes around and celebrates and cooks food.I think it became clichés.
I was so irritated by it, and I wanted to see that it was the woman's image we should look at. The reason I was looking forward to this work was that everyone has become a little older.As you said, they made the last work in 2017.
I had hoped that it would hurt a little.That they had experienced something that hurt a little.That they would tell that they were in a place where You're in the transition age, or you have sick family members, or something that hurts.
I think this was a cliché on what's the worst thing that's happened to us.I feel like that's what they said to me.Do you understand what I mean? So I was pretty disappointed.And on the other hand, I think there are some highlights.
I think, as you say, that Rikke Bilde has her song, which was a highlight for me in this research.Because I think there was something that hurt.I could feel the pain and what they wanted to tell about a woman who is getting older.
And I think it was just flat around. And me, with that chorus, I was just like, oh, a cheap grip.
Do you think so?Of course people sing along.But it's not new either, they do the chorus at the end.I know from someone who saw White Magic, they did it there too, and also with the sign.They didn't do it in Tove, Tove, Tove.
No, but they said, you can actually find pictures. From the previous things they've done, there's a part of this show with reuse scenes.Also the one with the keyboard, where you lie down and hold the keyboard.
Yes, I know, they do that several times in the same position.Well, we don't have to do that, because we can't say it.
Because I told Niklas, or Niklas was my husband, and said that they also did that in White Magic, as he saw it.No, but then I just think it's a bit silly again. I don't know, I don't feel it was bad, because I think it was very fitting.
And I think it did something pretty good.It was like this, that I really stood and was reminded of the best thing we have from each other.I felt it was a sacred community, which I think was pretty nice.
And that was also what I think had gone again along the way in the performance.There were definitely also some things where I had expected something more.
There was a lot of all those women from the culture and the history that hung in frames on the stage ceiling almost, right? I expected it to play a bigger role, also because in that 60s home there were some witch hats in the wallpaper.
So I thought, it would be cool if it was something about women's history, who women have been through time.And it was!Because there was something about who we have been as women through time, and see how much of that still holds.
The whole 60s housewife scene became a mental load scene and a mental load monologue. And I don't know if it's just my algorithm that's been fucked, it's been someone's mother, but it fills up so much in my algorithm during the Lode Debate.
And I was also thinking, I can recognize a lot of what she says, and how crazy it is that we can still recognize it.For me it was very... Not because it's after this time debate is super original, but I was thinking,
Reflecting on how crazy it is that it's still like this, and that it's still going on, thinking we can't go any further.But you're right to think, what more do you want to say about it?That's what I was thinking too. And?
I think for me it was just about what hurts, or what's at stake.I understand that there's something about a woman's point of view.For me, it wasn't more than a sketch or a show.No, I understand that.I can follow that reading.
But for me, it just went well together with the fact that it was supposed to be an investigation of what challenges our community.
But I also think they got more fat in the second act.But it's insanely interesting, I think, with those... It's rare that we get these ultra-hyped performances and collectives, as Black and White is.They are like a unicorn in a way.
And I think it's insanely interesting.I feel like the regiment could get closer to that.The ones who also made... We talked about it earlier.Annabelle slays the whole team. who made Pride and Prejudice, could get a hype-feeling around them.
How to Kill a Dog.How to Kill a Dog has the same thing.It's always exciting to see if they live up to the hype, or if they fall into it.
And I don't think it's anyone's intention to fall into it, or say, we'll take it on the shelf, because we love it anyway.I don't think that about any of them.But you can quickly interpret it as when you just call your show number four.
It plays forever, but it's sold out.If they do as they usually do on beta, you can come to the day an hour before and hope that no one shows up.Great.Then it plays until the end of November.
Then you can put it on the day if you are desperate to see it.I think it's a visit worth it.I think it was a lovely experience. Clara, we're about to wrap up, so I'd like to ask you, what's the best thing you've seen since last time?
Well, I went to Berlin shortly after we recorded the last time, because I was going to see the show called Kill Me by Marina Otero.
And I've talked about her trilogy many times, so fuck me, last year I think it was the best thing I've seen in a very, very long time.And I had the opportunity to visit a theatre called Hav, Hav 1, which is in Berlin.
If you look at the pictures, it's a real German theater.It looks bombastic, like post-war times.Lots of dark wood.Hitler kept it that way.I feel like he stood there and said something by raising his arm.
But Marina Oteo is currently on tour with the last part of the trilogy, Kill Me, which is a biographical work.This work is about psychological suffering.She has been diagnosed with bipolar disorder.
And on stage she has four other dancers, five other dancers, who also have that diagnosis close to life.And then it's about how you are in the world with that suffering.
How you can pop a lot of pills that have a lot of side effects, but you can act normal.And still go out on stage and sing like Edith Piaf.
And then there's an acrobatic performance, a dance performance, where one of the ballet dancers floats around on roller skates.A wild, nice, feminist work.And it's just a huge challenge to keep an eye on Marina Oteo.
I know she's going to play all over Europe next year, both Kill Me and some of the other performances she's doing.And she's a powerhouse. but all kinds of challenges to Berlin.What about you?What have you seen?
I've been to Odense, not that far away, but I've been to Odense to see a children's performance at the Nørregård Theatre.I've never been there before.It's an incredibly nice little children's theatre, I feel.
But I saw a children's performance there called Farewell, which is a children's music theatre concert, and it was just mega, mega good.Four musicians and actors Cycling around in big suitcases, saying goodbye to different things.
It's about things you can say goodbye to in a child's life.When you say goodbye to your teddy bear, to a friend who has to move away, to a dog you couldn't have.Nostalgic melancholy.Yes, and they were really nice songs.
All the songs were in different genres, so it was an introduction to different genres for the kids. It was very beautiful, very ambitious for a children's show.
Because sometimes it can be... I don't want to look down on making children's shows, but it's like, oh, children's shows.And it's rarely the big shows. It was all about making a mega cool show, with light, technology and music, and it just worked.
I was so well entertained, and I thought, adult theater concerts, take notes.If you did it like an adult theater concert, it would have worked so well. It was so cool!If you have a child, or are just a bit nostalgic, it's really, really good.
I can imagine that it's something that comes on tour, it does these children's shows sometimes.
What are you looking forward to seeing next time?We've been invited to see a performance called Slit Show.And I've been chosen by the cast to be the supporting opera singer and striptease.So I'm looking forward to seeing that.
It's in the dance halls.Of course.How cool.
What about you? I'm also looking forward to dance.I'm going to see Choreorama on the old stage, which is a night where they present three new choreographers' works.A format that will come again.I talked about it earlier at number one.
The reason I'm really looking forward to seeing it this time is because Oliver Starpoff, whom we have also had a visit from here in the podcast, is going to make a work called Have You Noticed I'm Grieving?
It's about sleep, which I'm very excited about.I'm looking forward to seeing it as a dance.I think Oliver is a fantastic choreographer.Both a fantastic dancer, but also a fantastic choreographer.
I'm also looking forward to seeing it.I've seen some videos and pictures from their rehearsals.
Yes, it really sucks to see that, I think.So I'm looking forward to seeing the others, of course, but right now it's Hans's work that's drawing attention.
No, it's going to be some good weeks.
It's going to be some really good weeks, yes.And very briefly, as the last piece of news, we can say that if you're one of those who didn't get a ticket to Aarhus this time... But is there anyone left, do you think?
So just calmly reset it in 2026.Yes, but it may be in 2026 that some of those who saw it in 2023 will see it again.
I will see it again?Yes.I haven't seen it in three years.
But it's just such a big success for the Royal Theatre that they put it up again.May I ask, is it because Morten Kirksgaard stops in 2026 and he says goodbye to that play?Are you going to burn it down or what?
No, I just mean it because it's like this, I feel a little it's his masterpiece or masterpiece in his time at the theater. I think he said somewhere that he only had one round left. I don't know if I'm saying something that's not right.Exciting.
That's something I've heard.Bring the gossip.Yeah, yeah.I've heard this.Spill the tea, sis.We have to talk to someone.
Yeah, okay.You've heard this before.Yeah.This is how it's gonna be, Morten.You have to go out in 26, I can tell you that.He's been there for a long time, I think.Yeah, yeah.It would be exciting to see.
But I mean, Aron, I totally agree with you on why he's in that post.Yeah, yeah.
Yeah. We can leave that news to Clara.We'll be back at some point in the beginning of November.I'm looking forward to it.I'm looking forward to it too.Thank you for listening to this episode of Den 4e Væk.
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