Year: 2024
Type: article
Abstract: Zusammenfassung Representations of death have a long tradition in literature. The three plays, Tilbakekomstene by Fredrik Brattberg, Jeg forsvinner by Arne Lygre, and Ikkje direkte råka by Maria Tryti Vennerød, stand as examples of the contemporary Norwegian drama and theatre – with Brattberg’s and Lygre’s literary minimalism and Vennerød’s performative approach. Death on stage is explored from different perspectives – on a personal level, in an anthropological way of looking at society and from a political view. In Tilbakekomstene, nameless parents exposed to their son’s death are stuck in a cycle of disappearing and reappearing as well as reality and illusion – reminiscent of the musical elements of rhythm and repetition. In Jeg forsvinner, the protagonist’s escape is contrasted with those who remain, but finally all the characters realize that they are trapped without hope. Their fear of destruction is portrayed in scenes taking place simultaneously. Ikkje direkte råka. Dagbok 16/4–22/6 2012, referring to the terror attacks in 2011 and the trial at court, addresses the contrast between the individual’s fear of death and the values of a collective We within Norwegian society with all its complexity and ambiguity. More a performance than a play, it consists of blog entries and passages in prose and verse. All three plays lack a straightforward plot, they present simultaneous scenes, static figures, minimal language and a timeless and placeless setting. The rejection of empathy and identification can be seen as a modern concept of memento mori in the 21st century.
Institution: Christian-Albrechts-Universität zu Kiel
Language: English
Subfield: Visual Arts and Performing Arts
Field: Arts and Humanities
Domain: Social Sciences
Open Access status: hybrid
Estimated APC paid: $2,489
OpenAlex ID: W4406436424