Vem är rädd för Virginia Woolf? by Edward Albee
Transl: Gabriella Berggren /Magnus Nordén
Director: Ulla Gottlieb
Set Design: Asa Lieberath
Participative: Suzanne Reuter, Krister Henriksson, Cecilia Frode, and Alexander Skarsgård.
"Who's Afraid of Virginia Woolf?" fills forty. Southern Theater and producers Egerbladh & Willman celebrate this with a dramatization - and rightly so. Albee's drama is a theatrical classics representing the 1900s and the meeting between Freud and drunk as dramaturgy. The alcohol will be here for the first time a means to say things straight out, to talk about sex and role play, mix intercourse with profanity.
Who's Afraid of Virginia Woolf? also contains a grand existential space in which both the infertility, the meaning of life in the absence of God is discussed between the lines. The låtsasson, which carries major role of love and guilt, and it is expected to become an almost equally strong emptiness marker Godot. Just as Beckett, Albee uses cynical One-line replication and a gross, absurd humor. It is a wonderful piece. Södrans big stage like a boxing ring. We are the home of Martha and George. She was the daughter of a university president, he was Associate Professor at the Department of History. He has invited a new colleague, biologist, with his wife on Nachspiel - and that is exactly what it is: a night game, a quartet of four life lies in a few hours wolves. Two marriages are portrayed as role-playing over a precipice which is about reproduction. And the universe is just as dead and empty as Marthas uterus.
Set designer Asa Lieberath down a Wallpaper Nice home on stage, a square white rug, turquoise and brown. The role of clothing is cleverly chosen to reflect as much 60 as the present. And translation also underlines that the time is nothing, the game and all, infertility.
For three hours engaged in the ensemble for the "peel off label." Danish director Ulla Gottlieb has staged before Noren and some play Albee's drama in a way, through Noréns bourgeois quartets. Gottlieb "do" anything with Albee's text, here presented no bold new interpretations, no new frames or layers. The set is traditional in a sympathetic way, and this mainly through the actor's actions. Here is the meeting between the extrovert and the introvert - between Suzanne Reuter and Krister Henriksson - at a relatively low-key level, compared with the Taylor / Burton film version. Gottlieb and chamber ensemble delivers a gaming twist on the play, which is excellent - although Södrans large salon is slightly too large to all shades and half-chosen words to reach right up.
Suzanne Reuter and Krister Henriksson play a couple who actually love each other even though their marriage has become more and more of a design with a strong fictional element, especially his son. Despite the duo picks up a kind of affection for each other in any verbal smock, which enriches the game.
And the fact that their relationship is actually hopelessly dying tonight makes interpretation even more tragic.
Suzanne Reuter deliver their lines with great skill and accuracy with which she had practiced it over the comedies.
Krister Henriksson and slipping around in their lines, with circular movements, he rings up a strong intensity, which is absolutely relaxed.
And the meeting between both of them work very well. Alexander Skarsgård as välgymnastiserad biologist is prima square stallion. Cecilia Frode as good as the creature prone, smalhöftat goose who is afraid of becoming pregnant.
Who's Afraid of Virginia Woolf? is a title that plays with academic jargon mixed with alcohol. On Södran become subparagraph a restrained, well played staging that opens the paragraph, its character and many layers.
Ulla Gottlieb holds back the noisy for the subtle, select the tradition to celebrate forty year old. The results show the similarities between Albee's psychological absurdism and Beckett - the set is an interpretation of the acute fear of the absolute emptiness.
Who's Afraid of Virginia Woolf? All.