Creditors
By
August Strindberg
Adolf, a young up-and-coming artist, begins to harbour suspicions
and questions the whereabouts of his rather frivolous and
free-spirited older wife. A timely visit from a mysterious and
enigmatic stranger just might be the answer to putting these doubts
to rest and with his offer of solace, a way to make sense of a world
of uncertainty where his masculinity, creativity and indeed his very
existence is at stake. Who is this stranger? Why has he appeared at
such a pivotal point in the life of this young artist?
Strindberg’s dark and timeless tragicomedy grants us a peek into a
world of sexual obsession, revenge and the reopening of old wounds,
ending with the inevitable but shocking lesson of what could happen
when love dies.
Cast & crew
Jenny Scudamore Tekla
Steve Kitson Gustav
Sam Tucker Adolf
Diane Winkelby Stage Manager
Martin Avery Lighting Designer
Nichole Stone Costume Designer
Clyde Hunter Director
Martin Avery Sound Designer
Basheerbagh
Qadir Ali Baig Theatre Festival
Miss Julie, 19 Nov ' 13
Bharatiya Vidya Bhavan Auditorium
Overview
The play deals with issues of power and control, bringing within its
ambit, the battle between the classes and sexes.
Set on an intoxicating midsummer night - a count's daughter, Julie,
in an attempt to escape an existence cramped by social mores,
indulges in a flirtatious contest for power with an attractive man
servant, which quickly escalates into a relationship. Miss Julie and
Jean battle for control, until Jean suggests a shocking denouement.
One of Strindberg's most loved plays.
TAT Kreativ-Akademie, München
&
Theatergastspiele Kempf, Grünwald
Der Pelikan
Schauspiel von August Strindberg
Premiere am 11. Oktober 2013 in Ottobrunn
Tournee: 11. Oktober bis 10. November 2013
Zum Inhalt
August Strindberg beschreibt in seinem Stück „Der Pelikan“ eine
Familientragödie, die auch heute stattfinden könnte.
Die Mutter entzieht ihren Kindern alles, was zu einem einigermaßen
zumutbaren Leben gehört. Sie entzieht ihnen nicht nur Nahrung,
sondern baut sogar mit ihrem Schwiegersohn eine wohl sexbesessene
Beziehung auf. Ihre Kinder ziehen sich fast autistisch wie in ein
Schneckenhaus zurück, besonders Sohn Fredrik flieht in den Alkohol.
Erst als durch einen Brief des verstorbenen Vaters viele Dinge
aufgedeckt werden, kommt es zu einer exzessiven gegenseitigen
Abrechnung, die eskaliert und zur Katastrophe führt.
Regie: Bernd Seidel
Kostüme: Monique Kammin
Bühnenbild: Hans Mehringer
Mutter - Evelyn Plank
Fredrik, ihr Sohn - Patrick Gabriel
Gerda, ihre Tochter - Sandra Heuer
Axel, ihr Schwiegersohn - Markus Olzinger
Margret, Haushälterin - Christiane Hedtkamp
THE GHOST SONATA
Written by August Strindberg
Directed by Judy Navas
October 31-November 9, 2013
Evert B. Person Theatre
$10-$17
SSU students Free w/ID
Complete with vampires and mummies, a mind-blowing
masterpiece of modern theatre perfect for Halloween!
Brilliantly designed sets, costumes and eerie black-light
projections create a shadowy, translucent “Tim Burton-like”
phantom world. Seated on-stage, two audiences face one other
while the drama unfurls!
USA, Los Angeles (CA)
October 11 - December 15
CREDITORS
An Odyssey Theatre Ensemble & New
American Theatre Co-Production
Gripping, Powerful and Blackly Comic.
- London Daily Telegraph
In a very modern new translation by David Greig,
Stringberg's classic play is a sexy, savage and fun look at
marriage as a uniquely brutal system of exchange. Thought
the collapse of banking was bad? It's nothing compared to
wedlock. An Odyssey Theatre and New American Theatre
co-production.
Written by August Strindberg
Adapted by David Greig
Directed by David Trainer
Produced by Ron Sossi & Jeannine Wisnosky Stehlin
Set Designer Thomas Walsh
Costume Designer Merrily Murray-Walsh
Lighting Designer Nicholas Davidson
Sound Designer Ron Klier
Assistant Director Noah James
Stage Manager Josie Griffin-Roosth
Graphic Designer Peter Simpson Cook
Casting Director Julie Alter
Starring
Burt Grinstead
Heather Anne Prete
Jack Stehlin
The Ghost Sonata by August Strindberg, translated by
Thaddeus L. Thorp.
Directed by Jure Gantar.
Oct 15-19 2013 at 8pm, and Oct 19 at 2pm.
Strindberg's Ghost Sonata takes place against the backdrop
of a strange house whose inhabitants include a mummy who
thinks she is a parrot, a cook who sucks all the blood from
the food she makes, and a dead consul. Inspired by
Beethoven's music, this modernist ghost story is both a
social critique and an unforgiving condemnation of a
dysfunctional family.
Ein Projekt nach August Strindberg
von Dominik Locher
In seinem Trauerspiel FRÄULEIN JULIE zeigt Strindberg, wie
das ausgelassene Treiben des Mittsommernachtfests dem
adeligen Fräulein Julie zum Verhängnis wird. Sie nutzt die
Abwesenheit ihres Vaters, des Herrn Grafen, um sich beim
Tanz in der Scheune auszutoben. Mit einem perfiden Spiel aus
Zärtlichkeit und Zurückweisung reizt sie ihren Diener Jean,
und als schließlich der Alkohol fliest, kommt es, wie es
kommen muss. Doch am nächsten Morgen haben sich die
Verhältnisse radikal geändert. Der Rückweg in ihre alte
gesellschaftliche Rolle der Adelstochter scheint für Julie
versperrt. Jean überlasst ihr sein Rasiermesser.
Zu Strindbergs Zeit war das, was in den eigenen vier Wänden
passierte und höchstens hinter vorgehaltener Hand
weitergegeben wurde, nur im Theater Gegenstand öffentlicher
Betrachtung. Wenn der Vorhang aufging, war zu sehen, was im
Leben nur hinter verschlossenen Türen stattfand. Für solche
Konstruktionen gibt es heute keine Notwendigkeit mehr. Denn
die meisten Menschen sind bereit, alles, was sie betrifft,
und sei es das Intimste, auf die Bühne der Öffentlichkeit zu
bringen. Der junge Schweizer Regisseur Dominik Locher
erarbeitet eine eigene Variante von Strindbergs klassischer
Geschlechterschlacht, die auch ein Klassenkampf zwischen
einem vitalen Aufsteiger und einem degenerierten
Luxusgeschöpf ist. ≫Aus Liebe stirbt man nicht≪, behauptet
Locher. Oder zumindest nicht mehr. Denn eine Liebe, die ihre
Erfüllung nur im Tod findet, ist zwar romantisch, aber auch
unsinnig: Als Toter hat man schließlich nichts mehr davon.
Der erotische Kampf um Leben und Tod, das Spiel mit Macht
und Unterwerfung ist dagegen zeitlos sexy.
Vor seinem Studium der Regie an der Zürcher Hochschule der
Künste arbeitete DOMINIK LOCHER als Kioskverkäufer,
Bauarbeiter, Altersheimanimator, Hotelmanager,
Pornokinokassier, Groschenromanautor, Zirkusanimator und
People-Redaktor für die Schweizer Boulevard-Zeitung Blick.
Seit dem vergangenen Jahr studiert er am American Film
Institute in Los Angeles. Sein Debütfilm Tempo Girl wird in
diesem Jahr zum ersten Mal in Europa gezeigt.
Besetzung
Fräulein Julie – Laura Sundermann
Jean – Samuel Braun
Christine – Anna von Haebler
Karten kaufen
20 Okt 20:00 H
24 Okt 20:00 H
26 Okt 20:00 H
31 Okt 20:00 H
09 Nov 20:00 H
20 Nov 20:00 H
29 Nov 20:00 H
01 Dez 20:00 H
07 Dez 20:00 H
14 Dez 20:00 H
20 Dez 20:00 H
The Onomatopoeia Theatre Company
A Dream Play
By August Strindberg:
Nov. 7th - Nov. 17th at
The Gene Frankel Theatre
24 Bond Street, New York, NY 10012
An Existential Inspection of
Happiness and Suffering
The daughter of Indra has come to earth seeking an
understanding of humankind. On her journey she sees stories,
people, and places merge and break like the waves of the
sea. Can she understand why people suffer in a world so
beautiful? Is there hope for humankind? Will we be able to
find happiness? Help us search for these answers as The
Onomatopoeia Theatre Company presents a compassionate
examination of the play Strindberg called "My greatest joy".
Cast
Miranda Webster
Finn Kilgore
Nathan Winkelstein
Caiti Latimer
Nikki Pope
Chapman Riedel
J. Michael Evans
Alexandra Porter
Polly Korbel
James Conway
Crew
Director - Thomas R. Gordon
Production Manager - Tasha Partee
Stage Manager – Samantha Ryel
Costume Director - Charlotte Gaspard
Costume Design – Al Malonga
Set Designer - Zach Serafin
Lighting Designer – Brian Henderson
Ministério da Cultura e Eletrobrás apresentam
Julia
de Christiane Jatahy
(adaptação do texto “Senhorita Julia” de August Strindberg)
JULIA
A pesquisa da diretora, Christiane Jatahy, desde 1996 é
voltada para a exploração de novos territórios cênicos.
Primeiro montou espetáculos em espaços não convencionais que
propunham novas interações do público com a cena, e a partir
de 2003, radicalizou a investigação montando espetáculos que
transitavam entre as fronteiras tênues da realidade e da
ficção, do ator e do personagem, do aqui e agora e da cena
marcada. Sempre com o objetivo de criar uma relação viva e
dinâmica com o espectador. Nos últimos anos seu trabalho
incluiu a linguagem audiovisual, em peças como; Conjugado
com uma vídeo instalação integrada a dramaturgia da cena,
Corte Seco, com câmeras de segurança revelando ao vivo o
entorno do teatro e dos bastidores, e principalmente, com o
filme A Falta que nos move, transposição cinematográfica a
partir da peça homônima.
JULIA, adaptação da peça Senhorita Julia de August
Strindberg, dá seguimento a pesquisa da diretora, integrando
teatro e cinema em cena. Se na Falta que nos move o teatro
se transformou em filme. E no (anterior) Corte Seco as
estruturas teatrais eram reveladas. Em JULIA o teatro se faz
cinema ao vivo e as estruturas cinematográficas são
expostas. Com cenas pré-filmadas e cenas filmadas ao vivo, o
filme será construído na presença do público a cada dia. Em
uma fricção permanente entre teatro e cinema. Entre o
clássico e o contemporâneo. Entre o que pode ser visto e o
que só pode ser entrevisto na presença real do ator em cena
e no enquadramento dos detalhes do cinema.
A adaptação do texto também traz o conflito para o aqui e
agora, no dia em que o público assiste a peça, e se pergunta
quem são e como se relacionam a Julia e o Jean (Jelson na
adaptação) no Brasil de hoje. Se Strindberg colocou uma lupa
na relação de dois seres tão distintos e próximos no século
XIX, nós colocamos uma câmera; presença e testemunho
permanente invadindo e construindo junto com o olhar do
público esse encontro atual e urgente.
Para mais informações, entre em contato: Christiane Jatahy
JULIA (ENGLISH)
Since 1996, the research of theater director Christiane
Jatahy has focused on the exploration of new scenic
territories. At first, she staged plays in unconventional
spaces that proposed new kinds of interaction between the
public and the scene, and, from 2003 on, her investigation
grew more extreme by means of productions that crossed the
subtle borders between reality and fiction, the actor and
the character, between the here-and-now and the rehearsed
scene. Always with the purpose of creating a living, dynamic
relationship with the audience. Over the last years, her
work has embraced the audiovisual language in plays such as:
Conjugado (“The studio apartment”), which integrated the use
of video to the scene, Corte Seco (“Cut”), in which
surveillance cameras reveal the surroundings and the
behind-the-scenes of the theater live, and especially with
the film “The Lack that pushes us”, an adaptation of the
play with the same title.
JULIA, an adaptation of August Strindberg’s play Miss Julie,
gives continuity to Jatahy’s research by bringing together
theater and film on the scene. If in “The Lack that pushes
us” theater had turned into film, and if in “Cut” the
theatrical structures had been disclosed, in JULIA theater
becomes live cinema and the filmic structures are exposed.
By using pre-filmed footage and scenes filmed live, the film
will be built in the presence of the public on each day of
the performance, in a permanent friction between theater and
film, between the classic and the contemporary, between that
which can be seen and that which can only be perceived in
the real presence of the actor in scene and the detailed
framing of cinema.
Moreover, this adaptation brings the conflict of the
original play to the here-and-now, to the very day on which
the public sees the play and asks themselves who they are
and how they relate to Julia and Jean (named Jelson in this
adaptation) in today’s Brazil. If Strindberg had used a
magnifier on the relationship between two human beings so
different though close in the 19th century, we have used a
camera; presence and permanent testimonial breaking through
and building together this unusual, up to date encounter
with the glance of the public.
For more information send an email to
Christiane Jatahy
FICHA TECNICA
Elenco
Julia Bernat
Rodrigo dos Santos
Ficha Técnica
Direção de arte e cenário: Marcelo Lipiani
Concepção de cenário: Marcelo Lipiani e Christiane Jatahy
Direção de fografia: David Pacheco
Iluminação: Renato Machado
Direção musical: Rodrigo Marçal
Figurino: Angele Fróes
Orientação corporal: Dani Lima
Programação visual: Radiográficos
Assessoria de imprensa : Palavra
Conteúdo e webmarketing : Janeiro
Projeto de som: Paulo Ricardo Nunes
Mixagem de som: Denílson Campos
Projeto de projeção : Alexandre Bastos – Nova Mídia
Fotos: Gui Maia
Câmera ao vivo : David Pacheco – Paulo Camacho (stand in)
"Enslingen i Blå Tornet" och "Den Starkare"
På Pygméteatern, Vegagatan 17
vid Odenplan i Stockholm
Enslingen i Blå Tornet är en nyskriven monolog som gestaltar
den cancersjuke Strindberg i sitt hem på Drottninggatan i
Stockholm några veckor innan han dör. August ser tillbaka på
sitt liv, brottas med sitt förflutna, relationerna med
kvinnorna, hur hans samtid betraktat- och behandlat honom
samt funderar över vad som händer när livet släcks.
Den Starkare utspelar sig en julafton i slutet av
1880-talet. Fru X möter väninnan fröken Y på ett damcafé.
Under den korta samvaron blir det uppenbarat att kvinnorna
har varit rivaler och styckets dramatik ligger i osäkerheten
om vem som egentligen är den starkare av de två.
Författare: Enslingen i Blå Tornet: Nicke Wagemyr Den
starkare: August Strindberg
Regi: Marianne Tedenstad
Anordnas på Pygméteatern, Vegagatan 17 vid Odenplan i
Stockholm den 29 september
Dörrarna öppnas 15:30 (evenemanget börjar 16:00)
Arrangeras av Apollo Teatern
