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Directed by RICHARD TURPIN
Music DROR FEILER
Set Design SÖREN BRUNES
Light Design CARINA PERSSON
Costume Design ULRIKA VAN GELDER
Make-up Artist ERIKA NICKLASSON
Dramaturgy MAGNUS LINDMAN
Assistant Director JOHANNA HOLMSTRÖM
Assistant Costume Designer
BJÖRN SÄLLQVIST
Premiere:
September 29th 2008
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CAST |
KARIN BENGTSSON |
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DAVID BOOK |
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ANDREA EDWARDS |
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PER GRYTT |
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JAKOB HÖGLUND |
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SONJA LUND |
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BENJAMIN MOLINER |
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HENRIK DAHL |
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ALFONS RÖBLOM |
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ERIC STERN |
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LOGI TULINIUS |
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SARA TURPIN |
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ANNA WALLANDER |
Musicians |
DROR FEILER, JOSEF BELTZIKOFF |
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| THEATRE TRIBUNALEN - STOCKHOLM |
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Theatre Tribunalen started in 1995 in an old cinema in the central of Stockholm. We were then three actors from the State School of Performing Arts and one stagedesigner from the State Dramatic Institute. Our purpose was to - Take control over our profession, so we would not be reduced to the institutional theatres around the country, - Create an actors theatre, so we would be reduced to tools in some ”creators” hands, - Use our profession to comment, reveal and judge the ruling layers of society and to give hope and initiative to those groups and individuals who may need it for to be able to make the best out of lifes.
We have so far staged twenty plays, and hundreds of people have been involved in the theatre. As many as 28 professional actors have participated in some plays, and then as many backstage. Tribunalen is one of the theatres in Sweden that has been mostly mentioned in the papers over the last years, for our stagings of course, but also for having such a (in Sweden unusual) social direction in our work. Volksbühne in Berlin was one group that inspired us when we started. Our performances tend to have a very direct dialogue with the audience, and we often play in a ”heightened” fashion. |
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P E R F O R M A N C E...... |
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Manifesto of the Communist Party, the first programmatic document of scientific communism, in which the basic ideas of Marxism are presented; written by Marx and Engels as the official programme of the first communist party of the labor class, the Communist Union (1847/48). It is comprised of four parts. I The Bourgeoisie and the Proletariat - the inevitablity of class struggle is explained, the necessity of the destruction of the Capitalist system and its replacement with Communism is presented. II Proletarians and Communists - the role of the Communist Party, i.e. Communists, as the inseperable part of the labor class, is elaborated; the programme of the Communist Party is presented and the system of measures the proletariat will have to undergo in the area of social relations in order to realize its historical mission is enumerated. III Socialist and Communist books - The attitude of Communists towards other opposed parties.
Manifesto ends with the fighting slogan “Proletarians of all coutries, unite!” The first translation into Serbian, under the direct influence of Svetozar Markovic, appeared in 1871 in the magazine Panèevac.
Used texts:
1. Herbert Marcuse, The Aesthetic Dimension -
H. Marcuse, German political philosopher and social theoretician. He developed a form of Neomarxism, in large part based on the teaching of Hegel and Freud. He became famous in the 1960s as the leading thinker of the new leftist movement and the guru of the student movement. He described the developed industrial society as an all-encompassing system of repression that smothered discussion and absorbed the opposition. He did not lay his hopes in the proletariat, but in the marginalized groups like students, ethnic minorities and women, as well as third-world countries.
2. Konrad Bayer, writer and poet, member of the Vienna Group (Wiener Gruppe) - H. C. Artmann, Gerhard Rühm, Friedrich Achleitner - the circle of experimental Austrian writers who came out of the Vienna Art-Club, and whose activity was most pronounced from 1951 - 1964. Poetic qualities towards which Vienna group strived: rejection of conventional literature, highlighting expressionist, surrealist and Dadaist elements, use of textual editing techniques, a return to the dialectic writing, and tendency toward sketch and similar literary-dramatic happenings.
3. Aristophanes, Women in the Parliament -
Aristophanes, representative of the old Attic comedy, direct engagement in the political and social life of his time. Sharp derision, satire and critique in his comedies are directed towards oligarchs and democratic politicians-demagogues, in the interest of conservative peasant landlords.
4. Subcomandante Insurgente Marcos, Shadows of Tender Mercy - Rafael Sebastian Guillen Vicente, describes himself as a spokesman for the separatist Mexican resistance movement, Zapata’s Army of National Liberation. Leftist radical writer and philosopher, opposed to globalization, capitalism and neoliberalism. “New” and postmodern Che Guevara. Legend and widely respected symbol of anti-globalism. |
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S E L E C T O R ' S...R E P O R T...... |
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This year's Pozorje opens on May 25th, the Youth Day in the pre-ex, comradery-filled and today (not seldomly) mentioned with nostalgia Socialist Federative Republic of Yugoslavia. My intention was thus, at least symbolically, to recall the important part of history and development of us as individuals as well as of Sterijino pozorje. I cannot evaluate that date, nor a prefix (intonation) to the title of my programme. I am leaving that task to the audience!
Accordingly, I chose a few plays that deal in different ways with the question of the relationship to the legacy of the idea of communism and its direct opponent - capitalism!
Theatre Tribunalen & Theatre Galeasen from Sweden comes with their view of the COMMUNIST MANIFESTO, which makes theatre into a kitchen that prepares, beside soup, people's destinies carried by thunderous ideals (which do not sound unhumane and ominous today)! At the end of the play we friendly share the tasty result of cooking.
 Nikola ZAVIŠIÆ |
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Richard Turpin was born on June 22, 1965 in Stockholm, he is a Swedish actor and theatre director. In 1995 he co-founded Tribunal Theatre. He directed a number of plays at the Royal Drama Theatre, National Theatre, Strinberg’s Intimate Theatre and Tribunal Theatre.
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The final truth for (profiteers) prophets. For Plato too. And for Christ, and for Church fathers. Aristophanes also dealt with this topic. Amenhotep confronted it. Spartans could not imagine anything else. In other words, common property develops a person within the person.
In Swedish public opinion this concept is still absurd - even though we are not only in the middle of an ecological, but also economic collapse. George Bush is accused of introducing Socialism, and he strikes vehemently back to this stigmatizing accusation for Communism.
We could not problematize the Manifesto, we did not have to do anything else, we only let the conflict develop at the point of intersection between text and society in decay, in which it is happening. The Manifesto is far from Swedish reality, except in history. It is the present or, even better, the pulsating story full of life.
Richard TURPIN |
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Turpin makes a theater soup from Marxist ingredients. Actors in aprons peel potato and cut onions, while reading the original text verbatum. At the same time, accompanied by a song and a coreographic game of association, they illustrate the crossing between feudalism and the next historical phase with handicraft, industial work, bourgeoisie and the waking of the proletariat.
Now that reality has caught up with theater, the testimony to this historical lesson represents a special spice in the soup served at the end of the play. Decade after decade they have been trying to convince us with assertions that capitalist economy is rational. Every morning and every evening in the news, experts explain that everything is under way, albeit with short standstills, but still moving forward. This idea is nothing but a great lie. Our economic system is from the start to the end irational, and tax payers are constantly obliged to save it.
Leif ZERN
Turpin’s play ends where the change has to start, at the place where the word and ideal should be action. The financial crisis is only a warning finger to the invisible hand. In these times we are not gathering around a soup in faith, hope and love, but reminding ourselves that it is perhaps time to clean the dust from some thoughts from the past.
Sarah DEGERHAMMAR |
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