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ruffly1122 · 2 years

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Translation: Manusoverlevering, part 1

Yeah, so... as promised, here's part 1 of the youtube video translation, from 0:00 to 24:20. (There will be two more parts, but they will probably take a week each.)

Any mistakes are there for your enjoyment - I'm a Swede translating Norwegian into English, which gives me two extra languages to føkk up. Ooops.

Also, there are a lot of starts, stops, pauses and unfinished sentences going on during the panel - I haven't cleaned that up, you're getting it just as it was said. So, yeah. Sorry, not sorry.

Anyway, translation (hopefully...) under the cut because it's looooong...

Presenter: First we’re going to see a video that one of the 181 has made about what it was like to bid on the scripts - that must have been a very exciting situation to be in - which ended on 109 901 NOK. So let’s spin the film and then we’ll meet Christopher Pahle and the rest of the crew. Enjoy.

*a short film about how 181 Skam fans came together to bid on an original script signed by Julie Andem at P3aksjonen 2017 [and ended up with three] is shown. [I began to translate this too - but either the picture quality or my eyesight is too poor so I gave up…]

Christopher Pahle: Hi, everyone. My name is Christopher and I’m going to be the moderator this evening. Um. Before we start, I’m just going to say that I noticed that we have an extra chair here so I hope that it’s okay that we brought an extra guest. So, please welcome Carl Martin Eggesbø, Henrik Holm, Ulrikke Falch, David Sjøholt, and Julie Andem. [the audience applauds] There’s a stair back there. Hello. We found out about an hour ago that Julie caught the flight from Copenhagen so we’re very happy about that. Congratulations on having been entered into the National Library. That's fun. Fun for Ibsen to hang with you.

Julie Andem: Just to think that we have the kind of fans that make sure that that happens, that’s…

C: You can applaud yourself for that. [audience applaud themselves] I think it’s about one year since the last episode, the last clip.

Henrik Holm: Sunday, wasn’t it?

C: What was that?

H: On Sunday, wasn’t it?

C: Yeah, I think so. And I was also told that it’s two years today since the trailer for season three was released.

J: Yeah. [audience giggles] Yeah, it’s cool.

C: But it’s been a year, how has it been since, are you getting some distance to everything, or? [he giggles] Well, you’re sitting here…

H: Yeah, we’re still here, aren’t we?

C: Yeah. But has it been hard to get some distance to it?

H: No, things happen in a natural order and it hasn’t been enough time to get a distance to it yet.

C: No. Is there anything you’re missing in particular? Something you’ve thought about?

J: I’m missing all the actors every day. And the team, the Norwegian team.

Ulrikke Falch: It’s been busy.

C: Yeah. We imagine that you’re spending all your time with them when you’re back home, but that’s not the case then?

J: I’m trying, but… I want to, but they all have lives without me, so…

C: One thing I was wondering about. You… none of you had your own seasons, and you might not have been told everything that was to happen in the season arcs, did you sometimes have to follow the story like us mere mortals via the clips being released?

H: Of course.

C: Yeah?

U: We got the scripts, though, so we knew what was going to happen. But it was always cool to see the recordings.

H: But we always got them one script at a time.

J: And it wasn’t everyone who actually read the scripts.

H: No… Me??

J: I was only looking at… I just said “not everyone”, I’m not mentioning any names, I’m not mentioning any names, just that “everyone didn’t do that always”.

H: I didn’t feel targeted by that. I didn’t.

C: I don’t think you should either. But, umm… you knew everything that was going to happen, most of you anyway, so was there something that came as as much of a surprise for you that it did for us?

David Sjøholt: We got the scripts via mail, so it was like…

C: And then you got the full script, not just your own scenes?

D: Yeah. Didn’t we?

J: Yeah. You did. Yeah. But I never released… it was only me and two others who knew the story arcs each season before the seasons began, and one of the reasons for that was to see the reactions I got from the crew and the actors on the scripts, because I thought that it would be about the same reaction that I would get from the audience. I remember that Ulrikke was very good at responding to the scripts, when you liked something in the script or in the story you immediately sent a reply like “oh, that’s cool”, or…

U: Or when I was unhappy, nag nag nag.

J: Yeah, yeah, yeah.

C: Was there something people reacted different to than you’d thought, Julie?

J: No, but there were some reactions that were stronger, like when I wrote episode eight in season three, I was very, like, it’s getting quite dark now. And then I sent it out to the team, and it was met with total silence, and usually it took just about half an hour after I sent out a script before people began to reply “cool script, blah, blah, blah, can we meet, we need a meeting, I have to know…”, but a half hour passed and an hour passed and one and a half hour passed, and then I got a message from my editor where he said “Fuck you”. And I thought… I remember that production meeting, because everyone was afraid because they didn’t know how the season would end, so everyone was very afraid of how the story would end. So everyone was concerned. So I remember I thought, like, wow. I hadn’t expected it to make such a big impression.

C: No, right. And then it’s particularly the scene, or, it’s the Plaza…

J: Yeah, it’s the Plaza…

C: And Sonja and Grønland and that. But it does say in the script, the episode eight one that will be entered today, because you’ve made some notes, and it says that people reacted… that it was heavier in the first draft.

J: Yeah. That it was harsher…

C: And that’s the scene in the street…

J: Yeah, with Sonja.

C: And how was it?

J: Yeah, I don’t know if it was so much harsher, but what I meant was that Sonja was even more convincing so that at the end you just thought that, like, this is just fucked. That you didn’t have even the slightest of hope. So then I added in a couple of elements that made you think that okay, maybe she isn’t telling the truth, so you could cling to that. But in that first draft I remember that it was like, okay there is no hope at all.

C: Okay. It was probably good that you…

J: Yeah…

C: Why do you think people reacted so strongly to that scene?

J: Well, I think that when you’ve identified so strongly with Isak, then you feel really stupid. And the whole dream of who you could be just shatters into a thousand pieces because here he’s been fighting his problems that are his fear of coming out and fear of being with Even, and he’s been thinking that Even has the same fears and that’s why he’s together with Sonja, and then it turns out that there are much bigger and more important things than him that Even is dealing with. So I think that if you’ve really empathised with Isak then you can feel both very stupid and very afraid because it isn’t a given that it will end with Isak and Even at that time. I think.

H: I remember… as I said, we got one episode at a time, and I remember that I sat, when I read the script, I sat and I had never been so shocked after reading a script, like, ever. I think I stood up and read it, really, like… [acts shocked] For me, it was like watching an episode because the images just started to whirr, right? And then it gets to Even running out of the hotel room, and I was like, what…?

J: Yeah, yeah, yeah.

H: And then you have to read it four time to understand what’s really happened, because it’s so… I don’t know…

C: Yeah, and it’s pretty intensely written and I recommend everyone to look at the scripts and read them, because I have, and that’s an experience in itself. I’ve read a lot of scripts and these were… I knew they were good, but…[Julie makes an “aww, chucks” gesture and the audience laughs and applauds] Um. We’re going to talk a bit about your characters in… in… first and foremost in the episodes that will be incorporated into the collections here now. Um. And… let’s see here, I lost the thread now. Um. Yeah. [Very serious voice] David. [David looks nervous] Um. You are, or, I’ve asked in one of the fan groups on Facebook what people were most curious about and a lot of people were very curious about you.

D: Mmhm.

C: They might not know, or, they might not know a lot about your character and how it evolves, because you really began more like an extra and then you were written into… When did you decide to do that, Julie?

J: Um… weren’t you auditioning for Even?

D: Umm? [David looks confused]

J: Really, we had, okay, as I remember it anyway, before season three we had a joint audition where we were looking for Even but also looking to extend Isak’s group of friends. And then you were there but I’m not sure if you knew that you really were at an Even audition…

D: No, I think I was… No, I mean, because I knew Tarjei, Isak, we’re best friends, so it would have been weird to, well… [everyone laughs] No, so I think it was for something else than Even.

J: Yeah. Okay. But what’s really funny is that I’ve gotten a lot of questions about who the nine original characters were, and Magnus was one of the characters that I didn’t… that I realised when I was about to create him for season one that I didn’t need him, that he was unnecessary, but then I remembered him when I was writing season three, and then David auditioned, and he has an amazing timing and an amazing comedic talent, and he’s just an exceptionally talented actor, and knew Ta… [David pretends to dry away a tear and everyone giggles and applauds] and knew Tarjei really well, and I have a kind of standard audition that I always use for boys when they come to auditions, setting them up two and two, and I think I’ve seen that scene a thousand times…

H: The youth [at least I think that’s what he’s saying - diction, mate…] dialogue?

J: Yeah. And then David enters and does it in such a new and fresh way, it takes a lot to, like, impress me with that script, but he was totally awesome.

D: Cool.

J: So then he just became Magnus.

C: But then the character was in place from the beginning, with a, with a character core diamond with a shame and things like that?

J: He really was, I don’t know if I shared it with you, did you get…

D: You sent something, but it was after it was finished. [everyone laughs] It was at the party, the wrap party, that you came and were like *high pitched sound*

J: Yeah, but I’m pretty good at keeping an eye on the logic of a character, so he puts his charm and his comedic talent into the character, which is a gift to me and the series, but I make sure that Magnus stays inside that logic, or inside the character core diamond that you called it. So I remove everything in the clips that goes against that during the impro, or remove it from the script, or, “don’t say that”.

D: Pretty often.

C: I’ve got a question from your future… I almost said partner [I guess Christopher is referring to Tarjei since this was probably filmed around when David, Tarjei and Jakob moved into a flatshare together?] that I feel like I’ve almost got an answer to already, but he’s asking when you’re most yourself in the character, like when Magnus is most like David, that’s something he thinks that you should answer.

D: Most myself?

C: Are there times when you aren’t yourself?

J: It’s a trick question, don’t answer that.

D: I think I’m a bit myself in all the scenes, but… most myself, I don’t know? Maybe when I act with Ulrikke, it gets like…

U: YES!! [everyone laughs and applauds]

H: I think you miss each other.

U: We miss each other so much. But David has got a girlfriend, so…

C: But it isn’t like, you mentioned about impro, because you’ve noted in one of the scripts, I think that might be the script that’s… eh… yeah, I can’t remember if it’s the one donated here or to Skeivt Arkiv [The Norwegian archive for queer history], but either way you’ve written in your comments that “the fact that Magnus and Vilde stand there and flirt was something we thought of there and then, mostly because I think David and Ulle are so good at improvising and we had to use it”, that’s in episode five when they’re on their way into the party.

J: Yeah. Do you remember the door there?

U: Yeah.

C: And you do have [David re-enacts the flirty wave] Yeah, right, it’s that one, and you do have a few of those scenes, and it isn’t always easy to know what’s improvised or not because everything seems very natural, um, what I really wanted… [he laughs]

U: All that…

J: Just go ahead and ask.

C: What I really want to know, um… that meowing…? [he giggles]

J: Yeah, that was in the script.

C: That was in the script?? [both he and Julie laugh] Of course it was.

J: It was!!

C: At the Christmas party at…

J: Yeah. It's because he’s the “cat hooker”.

C: Yeah, of course.

J: So he has, it’s been a running gag that he has a thing for cats.

D: Where does it come from, I can’t remember, where…

J: When you’re by the Christmas tree, we’re talking about…

U: The tongue, you improvised…

J: Yeah, that was impro.

D: Yeah, but I mean when we were… you meowed? I don’t remember that?

U: It’s an iconic scene.

D: I don’t remember that.

J: She meows and then you say do it again.

D: Ah. That one, yeah. I remember now.

C: Yeah, that is, that is…

J: That I actually wrote, but what’s actually impro was him saying in the scene where they’re sitting at the cafeteria [no, I’m not even going to try to translate ”apeberget”… Peanut gallery?] at Nissen and eat buns, and Jonas says, like, it was written, “I hooked up with a girl once that didn’t have a clitoris”, and then he says “I hooked up with a girl that had a cat tongue” and then it turned into “cat hooker”, and that was impro.

C: So the whole thing…

J: The whole cat hooker thing, after that ended up in a clip then that was just a thing we continued.

C: Right. It happens sometimes that magic appears during impro and then it turns into a whole thread.

J: Exactly.

C: That’s great. We have another scene too that I was pretty surprised was improvised that we’re going to look at, but I’m sorry that there’s been some tech issues, or, we’ve skipped around a bit so the clip we’re about to show isn’t exactly in the order it was planned, but, like, in the episode where Even meets Isak’s friends for the first time in the corridor, it says, you’ve written, “can't remember why that scene is so sparsely written, I think it’s just because I ran out of time to write so we improvised the scene”.

J: Story of my life.

C: And that in the script, all it says is “they greet each other”, but then it turned into a very, very, um, strong and good scene, not in the least in the way the boys react to… Isak is obviously afraid of how people will react, let’s see what it says [the script page is shown on the screen], it says, the stage directions are just “Isak stands on the stairs at school and is saying goodbye to the boys when Even comes by. Isak introduces Even to the boys, the boys jokes about how they got thrown out on Friday, Isak gets embarrassed”. Um, and that’s really that, can we… we have that scene so we’ll take a look at it, and it’s just, um, like, I’m just wondering how the boys’ reactions evolved. But maybe just watch the clip first. [they all turn towards the screen but nothing happens] If it’s set up, that is. And now I got a stern talking to about not being too quick with the transitions.

*the clip plays*

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ruffly1122 · 2 years

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Unpublished clip from SKAM, Season 3 (from the raw script):

ENGLISH TRANSLATION

Thursday 20 October, 15:10

JONAS and ISAK walk out of the school yard after the last class of the day. Around the corner is a bunch of people dressed in neon clothes, yelling about tickets for a revue party. IMPRO they’re loud.

JONAS: That revue thing, man, it reminds me of a sect, I’m getting, like, weird Christian vibes, it’s not right, man

ISAK tries to laugh: Agree

ISAK’s phone beeps, he takes it out, it’s a text from Vilde: Hey, how many people can you host at your place? Here’s a preliminary list of those who said they’ll attend the revue party tomorrow: Chris, Eva, Sana, Julian 1STB, Marianne 2STC, Emma 1STB, Silje 1STA, Eline 1STA, Sara 1STA and Even 3STB. Is it ok if I try to push for 5-6 more? It’ll be cooler if we’re more people.

ISAK’S heart skips a beat when he reads EVEN’S name.

JONAS (off): Should we try setting up a pre-game with Emma and her friends tomorrow or?

ISAK looks up: Yes! Or, tomorrow?

JONAS: Do you have plans?

ISAK stressed: No, or like I don’t know, maybe

JONAS: What are you doing then?

ISAK feels pressured: Just Eskild’s organizing some dinner thing in Kollektivet, like it’s tradition or whatever, I kinda said I’d be there

JONAS: The whole night?

ISAK: Uh yeah, or, I don’t know how long it takes

ISAK and JONAS cross the street and walk towards the tram stop. At that moment ISAK discovers EVEN, who’s already there waiting for the tram. ISAK panics, he can’t deal with EVEN potentially talking to him right in front of JONAS, he can’t mix those two worlds, what if EVEN starts talking about the revue party.

ISAK slows his steps.

ISAK: Let’s just chill here.

JONAS looks over at ISAK with confusion, ISAK looks down at the ground. JONAS sends ISAK an inquisitive glance.

JONAS: What’s the deal with you and that dude?

ISAK stressed: What are you talking about, there’s no deal

JONAS: It’s like you hate him or something

ISAK: Oh okay, no I don’t hate him, he’s just like really annoying

JONAS: How so?

ISAK: How?

JONAS: Yeah?

ISAK: Like, he’s just like… ISAK can’t think of a single thing about EVEN that’s annoying… I don’t know, he’s just annoying.

JONAS: Ok

ISAK goes for convincing: You know, like, some people are just annoying

JONAS: I know. You know, that guy Edward in my French class? I swear he drives me insane every day, or every French class, he asks the dumbest questions and it’s not like he even cares about the answer, he only does it to suck up to the teacher.

ISAK tries to laugh: What kind of questions?

The tram arrives

JONAS: Like, JONAS parodies “excuse me, will we get points deducted if we write two pages instead of one?”

JONAS and ISAK board the back of the tram. EVEN boards in the front.

—INTERIOR tram

JONAS continues: Like, just write two pages and shut up man, no one cares

ISAK laughs, he looks up and catches EVEN’S eyes across the tram. EVEN smiles, ISAK shoots him a little smile back and looks down.

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ruffly1122 · 3 years

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In 2017 Skam won the nordiske seriedager award which honors nordic tv series. Notice how Tarjei runs in after the others😂

«This is very overwhelming thank you very much. Many thanks to the jury. We did not expect this. Nor had we ever expected Skam to be received in this way as it has been done.

Many thanks to nrk and all the wonderful people who have worked out Skam. Skam is no accidental success we stand on the shoulders of giants. There are so many talented people in nrk and nrk super who have worked with online drama since 2007. Thank you very much. Many thanks of course to Julie Andem who created this universe.

She's like you know not here today. She is in Latin America, Argentina. Dancing tango, what do I know, I hope so.»

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ruffly1122 · 3 years

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«On the back, after playing over 20 performances of the monologue «20. November », as the real school shooter Sebastian Bosse. What a challenge, and what a response!

Now there will be a break (I'm studying, damn) but will be back again in December. Here you can read and buy a ticket, if you are curious:

https://oslonye.no/forestillinger/20-november/

Photo: Lars Opstad»

I’m just so so so proud, okay?!!😭💚

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ruffly1122 · 3 years

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Here it is, the Hemale Education Q&A with translations by me and subtitles by my dear friend!💚

I might be Norwegian, but gosh it was hard to translate the Q&A! I used around 5 hours in total (believe it or not)

We Norwegians have a bad habit of:

1: Talking too low

2: Talking too fast

3:Mumble a lot

The things listed above is a part of the reason why it took me so long🙈

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ruffly1122 · 3 years

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21 of september 2017 I went to Seriedagene with a big group of friends that I’ve gotten to know through Skam.

Tarjei, Ina, Ulrikke, Josefine, Carl Martin and Marianne Furuholmen (producer) talked about skam and life after skam.

I recorded some videos that evening that I would like to share (I think I’ve might shared them before as well)

I will also add a link to a youtube account that put out the entire panel meeting from the evening. The user subtitled it.

youtube

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ruffly1122 · 3 years

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«I was pretty rusty in acting, because I had only been an extra in season 2 and thought that; damn this is not possible!

Now I have to live up to a lot of people who expect something and I have just sat and got milk in my face.

Now I will try to be important. I was very afraid of doing something wrong because I noticed in a way that people expected it to mean something even it had started.

People were a little stressed about why a boy is the main character. People loved the girls and as I said, I was not very much involved in season 2, I was a bit gone. I almost felt like I was not so much in Skam and then suddenly the focus should be on me and now I just babble.»

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ruffly1122 · 3 years

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«How is she, how does she direct?

She is strickt.

She is strickt?

She is.

I have had her directing once and I remember it in a way.

Seriously?

Yes, way back. She shouted a lot and I was very scared and thought am I good enough all the time.

Yes you are wondering

You do?

You do. But then in a way it falls into place because Skam is what it is. Does it make sense?

No?

That the result gives confirmation that we are good enough.

And the only thing Julie wants to push us to do is to have that result.

Will she ever get angry?

She or I?

Yes, both I was about to say.

We had a problem with season 3 with the fact that they had cast David, my best friend who»

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ruffly1122 · 3 years

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«Feminism has always been a very close political issue for me.

It was a while back, Michelle. Two years ago? Three years ago? Yes something like that.

Yes, 2.5 years ago, Michelle has all the answers.

I was actually really pissed because it felt like everything went backwards in time.

One would think that the world would in a way become a better place the further into the future one should go.

Especially for women, because it fortunately would be development. But in a way it didn’t feel like that.

It was then that we were told that the abortion law in Texas would be introduced.

I read about it in the newspaper, and was like fuck this, this don’t work.

This is becoming too much for me.

And then I was a little like: I need to make a movie that can get out the frustration about the patriarchy.

I didn’t know yet how I would do it.»

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ruffly1122 · 3 years

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(Sorry in advance for any misspellings, keep in mind that I’m Norwegian so English is not my first language. Besides it’s been a long day and I’m quite tired at the moment so my brain gets a bit foggy)

Today it is four years since I met Tarjei and David for the first time! (I’ve only met David once, but met Tarjei twice in total)I still remember the day like it was yesterday.

I had been in a facebook group for skam fans for quite some time and had decided to step out of my comfort zone and meet up with a bunch of other fans at Ett Bord, and then later at a place called «Dattera Til Hagen» (I think it was called).

We had only been at Ett Bord for a little while when Siv (Henrik Holm’s mom) came to us and told us that she had a surprise for us. She said that Henrik could unfortunately not be there himself, but she had another surprise visit for us.

At Ett Bord it is several benches around a long table (or it was as Ett Bord ended up having to close down due to covid) and I were seated with my back against the wall, facing the windows. I felt an excitement around the table and as I turned around I looked straight at TARJEI!

I couldn’t believe my own two eyes, felt my heart skip a beat and I’m sure I must have had my jaw on my toes!

For a few seconds I were not sure if he were actually there right in front of me! I don’t remember exactly but I think I managed to stutter a «hello» through all the emotions going through my body.

A few minutes later I noticed David standing by the counter, and I got shocked all over again! He said hello from where he were standing.

(They had another friend with them as well, but I don’t remember his name at the moment)

With us at Ett Bord were another Skam fan that had come all the way from Korea (I think) and she had this book with drawings that she’s been drawing. She talked to Tarjei for a while after he had said hello to us, and all the time I were like sitting there thinking «did this actually happen, or am I dreaming?»

After a while the boys went outside to the long table outside of Ett Bord.

I were thinking that it would be so amazing to be able to take a photo with David and Tarjei, but I didn’t know if I would even dare to or if I would be too starstrucked.

Some of us were debating whether or not we should go outside and ask for a photo, and after a while we went out.

At first we took a group photo, with all of us in it (I won’t post it due to privacy) and then we stood in line to get a photo with the boys by ourselves.

I were the last one in line and it seemed like David were about to wal away when I asked if I could please get a photo too. They said yes and as the photo were taken I think that the only word I managed to get out were athank you»

That day is one of the best days in my entire life! I did not only get to know tons of beautiful human beings through SKAM, but I also got to meet Tarjei and David!

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ruffly1122 · 3 years

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Guarda "Tarjei Sandvik Moe Reiseradioen Interview July 15, 2020 🎧" su YouTube

youtube

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ruffly1122 · 3 years

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This lady were seated in front of me during the play at june 2nd!

I used google translate as it is too early for my brain to function.

Descent to the underworld

Brutal and painful about what's going on in a mass murderer's head.

Mona Levin Theater reviewer in Aftenposten

Our rating: 5

Facts 20 November:

Lars Norén, Centralteatret Teaterkjeller’n, with Tarjei Sandvik Moe, direction and translation Ilene Sørbøe, video, scenography and lighting design Oscar Udbye

A thin, slightly crooked young man with a shaved head is on his way to his old school. He carries a hockey bag full of weapons. He has a lot to avenge and nothing to lose. Now he tells why. Why he hates everything and everyone, hates his own life. And in doing so, he makes everyone complicit.

"All" are the spectators, scaled down to 20, at a good distance from each other and from him. The distance sheds an extra light on the boy's dark loneliness as he undresses his psyche in quiet, loveless desperation. No one cares. No one is innocent. He will die himself, but refuses to go alone. Through revenge he will be seen.

School shooting

The Swedish playwright Lars Norén died of Covid earlier this year, and the premiere of this play from 2007 has been postponed for over a year for the same reason. Date «20. November »refers to a school shooting in Emsdetten in Germany in 2006, where Sebastian Bosse became another of more and more school shooters.

Norén has had access to diaries from Bosses' hand, and built the play over them. Lars Norén himself was a troubled soul, a victim of bullying, a marginalized and invisible boy. All his pieces are driven by this basement darkness.

When bullying is torture

Sebastian Bosse was a victim of torture. At school, classmates felt they had every right to harass him daily, for years, beating and harassing him, burning him with glowing iron, forcing him to eat sand. It's torture. Nobody saw it, he was nobody. No money, no boyfriend.

In the end, he went the way of victim to perpetrator. Should we accept it? Understand that? We must at least listen to the outrageous story, no matter how unpleasant it is.

Sebastian (Tarjei Sandvik Moe) tells it seemingly passionately, but it is obvious that he is driven to the extreme and that there is only one way out. He's ready. The voice is empty, but the eyes seem honest when he apologizes to the parents, they are good people, he says. Should we believe it? He also says "humans are a disease".

Luminous Sandvik Moe

The nerve fibers are almost visible under the skin that tightens over Tarjei Sandvik Moe's cheekbones. This young actor excelled in Per Olov Enquist's The 25th Hour a year ago.

Now he repeats the feat, but with more notes in the instrument and even greater depths in the game.

It is a luminous and multifaceted interpretation he gives of a crippled young mind. He hides his sensitivity, hides all the scars. He is full of longing, full of hope. What's the point of living? If life has no meaning, then at least death must have meaning.

Dialogue for one

The direction (Ilene Sørbøe) is discreet and almost mesmerizingly significant. Oscar Udbye's scenography consists of a catwalk with video screens at both ends. Sebastian carries on a handheld camera filming the audience. We become part of the action.

The text is a dialogue he has with himself and with us. Every now and then he asks the audience questions, demands answers as Sebastian was asked for answers during school hours. He himself refused to answer. He does not give us the same right. If we do not answer loudly, at least the questions resonate within us, while we look around embarrassed.

In one scene, after he has overwhelmedly sunk to the floor, he makes a kind of ballet of rhythmic movements with his right hand. It gets darker around him, and in the cold light that accompanies the action, he lets the judgment of his fellow human beings fall.

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ruffly1122 · 3 years

Text

Here’s a google translation of what the conversation is about:

Julie: Ah, delay congratulations fine Tarjei! Think that you are 22, and THINK that you start on the script line at Lillehammer !! I'm sick proud and preparing for you to come and take my job soon <3

Tarjei:

There must be room for both of us dear friend!? ❤️ Thank you for making me believe that I was your script assistant even though I was actually a teenager with strong hubris.

Julie:

Haha !! You WERE my script assistant. Great talent, very early.

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ruffly1122 · 3 years

Text

Yesterday Lars Norén died after complications of Covid 19.

Tarjei has written a tribute to Lars Norén on a site called scenekunst.

I decided to translate the tribute with google translate, so you all can read it.

Here it is:

Thank you for your swallow dives in the dark, Norén!

The playwright Lars Norén died of complications related to covid-19 on 26 January. The actor Tarjei Sandvik Moe, who is waiting to play Norén's on November 20, remembers the meeting with Norén's art.

"Sometimes I am filled with a strong happiness - but I can only express it through crying."

From the play Munich-Athens, by Lars Norén

On January 26, the playwright Lars Norén died of complications related to covid-19. Norén showed us how existential darkness can be turned into art and how that art can once again light up in the theater darkness. For decades, he created profound, sharp and powerful drama that has touched and inspired many.

I first discovered his drama, completely without a clue as to who he was, when my mother took me on a production of Som lauvet in Vallombrosa at Det Norske Teatret in 2017. Before this evening I was a theater-skeptical seventeen-year-old, who was more interested in film. and simply thought that theater was rather boring. After this evening, I almost wanted to do nothing but watch, read and play theater, and most of all Lars Norén's drama. I laughed so I cried, and cried so I laughed, of the dysfunctional relationships, the self-absorbed characters and the strong and effective dialogues and monologues. I also suspect that in inappropriate ecstasy I got up in standing ovations before the show was completely finished. Lars Norén's acting made me understand the enormous power a stage text can have when it is written without fear of going into existential themes with a personal angle and both invites and gives the actors on stage space to find tragicomic, spark and dynamics together. . Then theater really is not boring.

Suddenly I had to play Norén's drama myself. In April 2020, we were to premiere the monologue on November 20, Norén's dark play based on texts left by a school shooter, in Oslo Nyes Teaterkjeller. No project has aroused more nervousness and awe in me. Carrying Norén on my narrow shoulders seemed impossible. I still had a secret (and most likely quite unrealistic) dream that the playwright himself might come and see. But due to a virus, we still have not premiered. This virus also took Lars Norén's life. Now I know for sure that he will not come and see the show when we are one day allowed to have a premiere.

I have been walking around with my head on November 20 for over a year now, and I can often think: Why does Norén have the strength, bother and desire time and time again to portray characters in such unimaginably deep crises? He writes about relationships full of physical and psychological violence, drug addicts, sex offenders and school shooters. Are these people representative of who we are?

Many will also think that Norén's art, in those cases where he has been very engrossed in uncompromising methods in the search for dark truths, contains some major flaws. However, we artists should look to him today and into the uncertain future because we must remember that we as artists must uncompromisingly search for these truths. We represent the universe in everything we create. And the universe is strikingly often a painful place to be. The universe is made up of many people in very deep personal crises, people who commit cruel acts, and although we are not all exactly like them, we can understand them and ourselves through art. We all have darkness in us.

Anyone who sees or reads a play by Norén gradually understands that it is far healthier, and moreover uplifting, to dive into the darkness through art than to suppress the existence of darkness. For the darkness that is not processed, but only suppressed, will grow. Therefore, we should be happy that Lars Norén has plunged into his own and others' tragic fate and psychology both through realistic and more symbolic expressions time and time again and conveyed it further in his very intellectual, but far from inaccessible texts. This means that we as readers or theater audiences can feel resonance, recognition and understanding that we can take with us further in life.

Lars Norén remains the greatest Swedish playwright after August Strindberg, and he will undoubtedly live on in our common consciousness and on theater stages all over the world, for many years to come. In Oslo, there will be a trip to play Norén at both the National Theater with Etter Stillheten and Oslo Nye Teater on 20 November as soon as it is safe and legal in terms of infection control. Then we will play with you in our dark hearts, Lars.

Thank you for everything, and rest in peace, great artist.

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