New Nordics Voices Showcase | Readings

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PLAYS

Apocalypse

Apocalypse

written by Marie Bjørn, translated by Kim Dambæk

Apocalypse is a play about the end of the world. It is told from the future and written in a form where it dictates the story of the audience who once witnessed a play called Apocalypse.

Apocalypse is a story about the last lovers in the world, who desperately wanted a child, but had to flee from their home because of demonstrations, fear and riots.

Apocalypse is written in seven chapters in a poetic, rhythmic language. Its form was inspired by apocalyptic religious tales of how the world will end. Thematically it circles around the fear of losing: A lover, a friend, a child, our planet, or hope as a phenomenon.

Stuffed

Stuffed

written by Gígja Sara Björnsson, translated by Brian FitzGibbon

A typical Icelandic home; a mother, a father, a teenage son, an adult daughter and her newborn baby. They are a very regular family, leading very regular lives, well mostly. Omar spends his day playing video games, Daisy as a lawyer, Henrietta manages the house and Buck, well Buck just brought home a very peculiar gift, a stuffed cat. As the play unfolds, we peek into the emotional turmoil that lives in each character, but we also begin to see the very strange effect the new gift has on the family. The cat brings out the animal in each family member: Henrietta the mother hen, Daisy the milking cow, Omar the depressed messy pig. Only Buck remains the sole survivor of this mystical feline inspired transformation. ‘Stuffed’ explores the animal within our most human traits, what it means to be a “happy family”, and if we truly are what we eat.

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Hornblende

written by Arda Yildirim, translated by Eva Buchwald

Amalia has no feeling of purpose but mundane wandering. The feeling of nothingness has made her create an obsession called Max. He keeps her somewhat sane. 

Amalia’s wonders, what is our purpose on this planet? Who are we to judge? And why are other people so irritatingly stupid and ignorant?

Amalia believes emotions can be transmitted, and it keeps her away from normal social behaviours – she is afraid her anxiousness will spread. She wants to reset everything, and her friends worry she might harm herself, just as her father did. After Max hits her in the gut, she finds herself in a place where she doesn’t know whether to kill herself or to continue living with the pain of loneliness. Amalia’s monologue asks what is the role of others in our lives, and what keeps us going.

Ring Ring Ring

Ring Ring Ring

written by Daria Glenter, translated by Charlotte Barslund

It is dark, cold and lonely. Whom should we pray to - The shining lights, the kitschy gifts, the snowfall or the sellers?

It is Christmas, it is time for redemption, it is time for forgiveness, it is time to come together and share the warmth. Carry on the traditions. For the good of us all.

 

Or so we think. 

 

Loneliness meets religious doubt, meets sexual frustrations, familial trouble, a capitalised holiday and a total absence of contact with one’s emotions. A disoriented longing for warmth, and a panicked flight when that warmth is found.  

RING RING RING is a play that attempts to ask questions, to answer them and to find a foothold in a world in dissolution.

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Real Knows Real

written by Alexander Salzberger

translated by Marie Parker Shaw

After the #MeToo movement shakes the creative industries to the core, Amir, a celebrated actor-turned-writer living a comfortable middle-class life, decides to go back to the estate where he grew up to make a documentary film about class and toxic masculinity. When he meets his old friends, Amir is forced to confront all of the traumatic memories from his teenage years, and unexpectedly finds himself the subject of the documentary instead of the artist behind it. He is left to grapple with questions about privilege, and with which parts of his life and identity he is willing to exploit for the sake of lending an air of authenticity and credibility to his art. The play, itself not autobiographical but inspired by the playwright’s own background, asks us to interrogate our ideas about lived experience and the authentic voice, and which artists we place those demands on.