Skreddersydd for the young - Aftenposten

Toralv Maurstadelva conspicuously absent. But by withdrawing from its role as Old Ekdal in Stein Winge’s production, he has made Rikstheatre Wild Duck to fall the most media coverage. And at Tuesday’s premiere in Nydalen soared Maurstad question of the waters. How much freedom can be a director take care with text? And when it ceases to be Ibsen?

Stein Winge is known as a director who would fill shaking classics. And in the National Theatre’s The Wild Duck, he put his unmistakable signature on the drug, like when candidate Molvik been transvestite and crooner. But when Wild Duck has become one of the best performances I have seen by Stein Winge for a long time, it is because Winge is a director who dare to create drop. For both actors and Ibsen’s text.

child’s perspective

Any classic production moves in a field of tension between mediation and interpretation, and the greater freedoms to take care of the original text, the deeper you risk falling. At the National Theatre show opens with that Hedvig is a snuff brown wall-to-wall carpet, with a Coke and a Mac: “Dear Diary”. By allowing Hedvig diary records act as a kind of voice-over lines, it is a Wild Duck told from the child’s perspective.

Already in the first statement she asks about the meaning behind the words. What do grandfather when he says that there are woods and mountains that give him the “courage”? Bibbi Mosletta screenplay adaptation is the simplification of the drug, by taking the opportunity to explain or “trivialize” Ibsen’s symbolism. And it is this performance’s profits. The modern text processing is talkative, downright chatty. But it does show the present: we chatter more than ever, but in Ibsen’s language there to cover.

linguistic minefield

Stein Winge’s production is the linguistic minefield stretched between the two poles and the old Hedvig Hjalmar. Sverre Bentzen took over Toralv Maurstadelva and his Old Ekdal is not only more aggressive than the role usually interpreted. He also leads the thought of Chekhov Tsjebutykin in Three Sisters . One who spread its “nonsensical remarks,” but that gravitates towards absolute zero. “Bunny hopping, fox caught in the trap,” said Hjalmar old, in a scene towards the end where the production goes far in suggesting that the “halvsenile” idiot takes revenge on Werle.

As with the Australian Wild Duck -production as the Ibsen Festival last year, it Hedvig, rather than Gregers Werle, who are truth seeker in this performance. And Hilde Stensland is a avsentimentalisert Hedvig, the credibility of a contemporary teenager, playing a more active role in family life than in Ibsen’s time.

Trust and elbowroom

There Hilde Stone’s 14-year-old Hedvig being thrown into a minefield when she questions the meaning of words, Stein Winge has given the other actors trust and scope for designing the characters. Mari Maurstad Gina balancing on a knife edge, as both mistress and second mother to Jan Gunnar Roise Hjalmar.

Rois interpretation, the Hjalmar Ekdal so affected and self pity that it seems incomprehensible that Gregers Werle believe in him. But in this performance involves all grades around its own axis. In splendid isolation, “Come and see, said the blind man to the deaf man,” as Old Ekdal puts it.

Stein Winge has signed a black, but also comic and burlesque Wild Duck . He balances the need to convey Ibsen on an almost crystal clear manner to a young audience that knows Wild Duck already.

But when Gregers rises up with Jesus, jokes Winge’s production of The Bible, not to mention Saramago “Jesus Gospel” in the background. Nothing is sacred – not the victim.