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...
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ftdoajarticles:oai:doaj.org/article:430769c569bf440d958f2556cc4437c9 2024-01-07T09:41:46+01:00 Kabaret, det revolusjonære og poetiske Knut Ove Arntzen 2019-01-01T00:00:00Z https://doi.org/10.15845/tvs.v0i1.2605 https://doaj.org/article/430769c569bf440d958f2556cc4437c9 DA EN NO SV dan eng nor swe Bergen Open Access Publishing https://boap.uib.no/index.php/tvs/article/view/2605 https://doaj.org/toc/0801-8294 https://doaj.org/toc/2535-7662 doi:10.15845/tvs.v0i1.2605 0801-8294 2535-7662 https://doaj.org/article/430769c569bf440d958f2556cc4437c9 Teatervitenskapelige Studier, Iss 1 (2019) avatgarde kabaret Bugge Mowinckel Dybwad Hans Jacob Nilsen Dramatic representation. The theater PN2000-3307 article 2019 ftdoajarticles https://doi.org/10.15845/tvs.v0i1.2605 2023-12-10T01:41:30Z 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 Directory of Open Access Journals: DOAJ Articles 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 |
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Open Polar |
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Directory of Open Access Journals: DOAJ Articles |
op_collection_id |
ftdoajarticles |
language |
Danish English Norwegian Swedish |
topic |
avatgarde kabaret Bugge Mowinckel Dybwad Hans Jacob Nilsen Dramatic representation. The theater PN2000-3307 |
spellingShingle |
avatgarde kabaret Bugge Mowinckel Dybwad Hans Jacob Nilsen Dramatic representation. The theater PN2000-3307 Knut Ove Arntzen Kabaret, det revolusjonære og poetiske |
topic_facet |
avatgarde kabaret Bugge Mowinckel Dybwad Hans Jacob Nilsen Dramatic representation. The theater PN2000-3307 |
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. |
format |
Article in Journal/Newspaper |
author |
Knut Ove Arntzen |
author_facet |
Knut Ove Arntzen |
author_sort |
Knut Ove Arntzen |
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 Publishing |
publishDate |
2019 |
url |
https://doi.org/10.15845/tvs.v0i1.2605 https://doaj.org/article/430769c569bf440d958f2556cc4437c9 |
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, Iss 1 (2019) |
op_relation |
https://boap.uib.no/index.php/tvs/article/view/2605 https://doaj.org/toc/0801-8294 https://doaj.org/toc/2535-7662 doi:10.15845/tvs.v0i1.2605 0801-8294 2535-7662 https://doaj.org/article/430769c569bf440d958f2556cc4437c9 |
op_doi |
https://doi.org/10.15845/tvs.v0i1.2605 |
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Teatervitenskapelige studier |
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