The International Ibsen Festival is a tribute to Norway’s greatest playwright and his groundbreaking work challenging the theatrical conventions of his time. With performances from countries such as China, Japan, Belgium, Germany and France, this year’s festival presents new theatrical voices from around the world with a challenging, surprising and relevant program.
Every second year, The International Ibsen Festival opens the autumn season at The National Theatre in Oslo. The repertoire includes the theatre’s own productions, as well as Norwegian and international guest performances, seminars, debates and other events.
Once more, the Ibsen Festival will demonstrate the importance of Henrik Ibsen’s work in laying the foundations of modern drama. The twentieth anniversary celebrations in 2010 established the festival as the principal arena for the breakthrough of director’s theatre in Norway. In recent years, it has also been open to international artists whose work is inspired by Ibsen’s drama. Performing the same piece in very different interpretations provides a unique insight into the nature of drama itself.
(article continues)Scene from Ibsen’s Ghost where Director Marit Moum Aune and choreographer Cina Espejord have created a version of Ghosts as ballet – because the play’s brutality rivals the powers contained in dance. (Photo: Erik Berg)
The National Theatre’s International Ibsen Festival has given rise to a number of Ibsen festivals in other countries. Through 22 years, 13 festivals and almost 200 productions from home and abroad, it has demonstrated the continued relevance of Ibsen as a razor-sharp portrayer of people’s lives and desires.
Important names from European directing theater, a performance for children with profound solemnity, a theatrical universe with nothing as a starting point and one crossover performance in apartments throughout Oslo are examples of what this year’s Ibsen Festival has to offer.
The festival opens on September 6 and runs until 22 September.
See program here (English)
Text modified by: Anette Broteng Christiansen, ThorNews
Source: The National Theatre