Kabaret, det revolusjonære og poetiske
In Norway, the theatrical avant-garde, 1920–1950, was oriented towards cabaret dramaturgy and symbolism. There also developed a direction of political theatre, as well as tendencies towards a more poetic-theatrical kind of theatre. Directors such as Agnes Mowinckel and Hans Jacob Nilsen were central...
Published in: | Teatervitenskapelige studier |
---|---|
Main Author: | |
Format: | Article in Journal/Newspaper |
Language: | Norwegian |
Published: |
Bergen Open Access Publisher
2019
|
Subjects: | |
Online Access: | https://boap.uib.no/index.php/tvs/article/view/2605 https://doi.org/10.15845/tvs.v0i1.2605 |
id |
ftboapojs:oai:boap.uib.no:article/2605 |
---|---|
record_format |
openpolar |
spelling |
ftboapojs:oai:boap.uib.no:article/2605 2023-05-15T15:06:52+02:00 Kabaret, det revolusjonære og poetiske Arntzen, Knut Ove 2019-01-02 application/pdf https://boap.uib.no/index.php/tvs/article/view/2605 https://doi.org/10.15845/tvs.v0i1.2605 nor nor Bergen Open Access Publisher https://boap.uib.no/index.php/tvs/article/view/2605/2638 https://boap.uib.no/index.php/tvs/article/view/2605 doi:10.15845/tvs.v0i1.2605 Copyright (c) 2019 Knut Ove Arntzen http://creativecommons.org/licenses/by/4.0 CC-BY Teatervitenskapelige studier; Nr 1 (2019); 53–66 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article 2019 ftboapojs https://doi.org/10.15845/tvs.v0i1.2605 2022-02-09T23:35:18Z In Norway, the theatrical avant-garde, 1920–1950, was oriented towards cabaret dramaturgy and symbolism. There also developed a direction of political theatre, as well as tendencies towards a more poetic-theatrical kind of theatre. Directors such as Agnes Mowinckel and Hans Jacob Nilsen were central to this development in both private and institutional theatres. A monumental realism had already established itself as a Norwegian directing style in connection with the Ibsen-tradition at Nationaltheatret, where Johanne Dybwad was a prominent figure. A major director of the avant-garde was Stein Bugge, who also wrote comedies of the grotesque kind. The article also gives examples of the cabaret culture in the arctic, exemplified by popular revues with participation from traveling directors like the Jewish Salomon Schotland. One can basically speak of a revolutionary avant-garde also, using amateur theatre like in the work of Olav Dalgard. This avant-garde would by the 1950s be followed up by dramatic writers like Tarjei Vesaas and Georg Johannessen, preparing the way for new tendencies of cabaret and laboratory theatre, like ‘Odin Teatret’, founded in Oslo in 1964. The fact that ‘Odin Teatret’ after a couple of years left Norway for Denmark, represented a temporary halt for Norwegian avant-garde until a new social oriented and performative avant-garde came about in the 1970s. In Norway, the theatrical avant-garde, 1920–1950, was oriented towards cabaret dramaturgy and symbolism. There also developed a direction of political theatre, as well as tendencies towards a more poetic-theatrical kind of theatre. Directors such as Agnes Mowinckel and Hans Jacob Nilsen were central to this development in both private and institutional theatres. A monumental realism had already established itself as a Norwegian directing style in connection with the Ibsen-tradition at Nationaltheatret, where Johanne Dybwad was a prominent figure. A major director of the avant-garde was Stein Bugge, who also wrote comedies of the grotesque kind. The article also gives examples of the cabaret culture in the arctic, exemplified by popular revues with participation from traveling directors like the Jewish Salomon Schotland. One can basically speak of a revolutionary avant-garde also, using amateur theatre like in the work of Olav Dalgard. This avant-garde would by the 1950s be followed up by dramatic writers like Tarjei Vesaas and Georg Johannessen, preparing the way for new tendencies of cabaret and laboratory theatre, like ‘Odin Teatret’, founded in Oslo in 1964. The fact that ‘Odin Teatret’ after a couple of years left Norway for Denmark, represented a temporary halt for Norwegian avant-garde until a new social oriented and performative avant-garde came about in the 1970s. Article in Journal/Newspaper Arctic Bergen Open Access Publishing (University of Bergen Library) Arctic Bugge ENVELOPE(-68.416,-68.416,-69.216,-69.216) Dalgard ENVELOPE(17.750,17.750,69.033,69.033) Johannessen ENVELOPE(-65.415,-65.415,-65.427,-65.427) Norway Teatervitenskapelige studier 1 |
institution |
Open Polar |
collection |
Bergen Open Access Publishing (University of Bergen Library) |
op_collection_id |
ftboapojs |
language |
Norwegian |
description |
In Norway, the theatrical avant-garde, 1920–1950, was oriented towards cabaret dramaturgy and symbolism. There also developed a direction of political theatre, as well as tendencies towards a more poetic-theatrical kind of theatre. Directors such as Agnes Mowinckel and Hans Jacob Nilsen were central to this development in both private and institutional theatres. A monumental realism had already established itself as a Norwegian directing style in connection with the Ibsen-tradition at Nationaltheatret, where Johanne Dybwad was a prominent figure. A major director of the avant-garde was Stein Bugge, who also wrote comedies of the grotesque kind. The article also gives examples of the cabaret culture in the arctic, exemplified by popular revues with participation from traveling directors like the Jewish Salomon Schotland. One can basically speak of a revolutionary avant-garde also, using amateur theatre like in the work of Olav Dalgard. This avant-garde would by the 1950s be followed up by dramatic writers like Tarjei Vesaas and Georg Johannessen, preparing the way for new tendencies of cabaret and laboratory theatre, like ‘Odin Teatret’, founded in Oslo in 1964. The fact that ‘Odin Teatret’ after a couple of years left Norway for Denmark, represented a temporary halt for Norwegian avant-garde until a new social oriented and performative avant-garde came about in the 1970s. In Norway, the theatrical avant-garde, 1920–1950, was oriented towards cabaret dramaturgy and symbolism. There also developed a direction of political theatre, as well as tendencies towards a more poetic-theatrical kind of theatre. Directors such as Agnes Mowinckel and Hans Jacob Nilsen were central to this development in both private and institutional theatres. A monumental realism had already established itself as a Norwegian directing style in connection with the Ibsen-tradition at Nationaltheatret, where Johanne Dybwad was a prominent figure. A major director of the avant-garde was Stein Bugge, who also wrote comedies of the grotesque kind. The article also gives examples of the cabaret culture in the arctic, exemplified by popular revues with participation from traveling directors like the Jewish Salomon Schotland. One can basically speak of a revolutionary avant-garde also, using amateur theatre like in the work of Olav Dalgard. This avant-garde would by the 1950s be followed up by dramatic writers like Tarjei Vesaas and Georg Johannessen, preparing the way for new tendencies of cabaret and laboratory theatre, like ‘Odin Teatret’, founded in Oslo in 1964. The fact that ‘Odin Teatret’ after a couple of years left Norway for Denmark, represented a temporary halt for Norwegian avant-garde until a new social oriented and performative avant-garde came about in the 1970s. |
format |
Article in Journal/Newspaper |
author |
Arntzen, Knut Ove |
spellingShingle |
Arntzen, Knut Ove Kabaret, det revolusjonære og poetiske |
author_facet |
Arntzen, Knut Ove |
author_sort |
Arntzen, Knut Ove |
title |
Kabaret, det revolusjonære og poetiske |
title_short |
Kabaret, det revolusjonære og poetiske |
title_full |
Kabaret, det revolusjonære og poetiske |
title_fullStr |
Kabaret, det revolusjonære og poetiske |
title_full_unstemmed |
Kabaret, det revolusjonære og poetiske |
title_sort |
kabaret, det revolusjonære og poetiske |
publisher |
Bergen Open Access Publisher |
publishDate |
2019 |
url |
https://boap.uib.no/index.php/tvs/article/view/2605 https://doi.org/10.15845/tvs.v0i1.2605 |
long_lat |
ENVELOPE(-68.416,-68.416,-69.216,-69.216) ENVELOPE(17.750,17.750,69.033,69.033) ENVELOPE(-65.415,-65.415,-65.427,-65.427) |
geographic |
Arctic Bugge Dalgard Johannessen Norway |
geographic_facet |
Arctic Bugge Dalgard Johannessen Norway |
genre |
Arctic |
genre_facet |
Arctic |
op_source |
Teatervitenskapelige studier; Nr 1 (2019); 53–66 |
op_relation |
https://boap.uib.no/index.php/tvs/article/view/2605/2638 https://boap.uib.no/index.php/tvs/article/view/2605 doi:10.15845/tvs.v0i1.2605 |
op_rights |
Copyright (c) 2019 Knut Ove Arntzen http://creativecommons.org/licenses/by/4.0 |
op_rightsnorm |
CC-BY |
op_doi |
https://doi.org/10.15845/tvs.v0i1.2605 |
container_title |
Teatervitenskapelige studier |
container_volume |
1 |
_version_ |
1766338421306949632 |