Jörgen Dahlqvist is not easy to achieve as it seems to be always moving from place to place and project to project. In addition to his role as artistic director of the freedom group, Teatr Weimar and teaching at the theatre academy in Malmö, sweden, and appears to be up-to-date with the new in-house productions as playwright and director. When we all get together at the art gallery in Malmö, sweden, he'll soon be off to the united states, in order to prepare for a new generation. At the same time the approaching of even a Transistorfestival, and the eighth in the order of more than three years, with a program that, until now, has steadily expanded and evolved.
In the Transistorfestivalens the frames meet for the theater, dance, music, art, literature, and performance art. The boundaries between the arts, go to know it only when you have passed them, and says Dahlqvist.
" where The question is, what theatre really is, I've been busy right from the start. It's only when you reach the no man's land between the arts, one can clearly see this is no different than a movie theatre.
Performance = the ability to experiment,
it is also the study that is the focus of the Transistorfestivalen. This is a platform where emerging and established practitioners can try out their ideas and in unison with the others. As the initiator of the help and Jörgen Dahlqvist, in conjunction with the designer, Jan Pettersson, and producer, Anna Jonsson, sweden-Based support where it is needed. It can be of very practical assistance in the form of loans of equipment, or the advice of the artistic process.
" the Idea is that the Transistor will provide an opportunity for practitioners to experiment in peace. It is then up to them to what degree they feel they have to respond to it. Some of the work stays in the lab while others must respond to an audience.
When the Transistor goes into the fourth year, he feels that it is time to revise the direction for the future. Instead of being quick to grow and develop as in the past, he believes in a process that runs slower and slower, and to allow for in-depth studies.
" At the beginning, go on to clean and cut the pepper and the content. It is also an activity that is totally individual. Right now, several of the key jobs in the different institutions, which means that they will not be able to be involved in the work.Teatr Weimar's veterans
" It was the kind of thing that went on at the time, that, at short notice, have access to a local in the heart of the city.
at Home in sweden, he had been running a record label, and based on the experiences and attitudes of the world, and he had a big advantage, when he co-founded the Teatr Weimar.
" I had been working as a graphic designer, and the capital of the business I was able to put up the first piece. I did not apply for funding but started up right away. It was the easiest thing I have ever done, is to start an order.
In quick succession, they had two plays, ”A call to martyrdom,” and ”the Blood, the cries of their brothers ' first in the script, and the directing of his own. A long-awaited debut, if it was easy, to set up a theater, it had taken him, the longer will be the period of time to mature as a writer. And, as a director, he felt that he has a lot to learn yet.
In my early twenties, I went by accident in a training course on how to write a drama. I was obsessed with it, I could see that the actors were able to do with a piece of paper and it was felt that there was a lot of knowledge that I had, that I wanted to get to me.
During the ten-year period of time, he sent an equal number of pieces for the various players in the theatre world, were slammed, but took the criticism and tried again. It is self-reflective, constantly omprövande the approach to returns in the group's work, and he says it's a great trip, as long as the ”got a feeling”.
" The first years seemed to be, we are very much in the shadow of the more high-profile groups such as the Theatre of the Bulls. It gave us the opportunity to develop our character.
In Malmö, sweden, is growing near
at the same time, each kulturklimatet and once the business was up and running, the group was by today's standards, the generous funding to pursue this work further.
" today, the new groups are, perhaps, one-third of the amount of money we had in the beginning. It makes a big difference to confidence in the future.
Still, he is confident that the new artists will have to find new ways to reach out with their work. He points to the possibilities of the stream teaterupplevelser. The audiowalks, pods, and digital platforms such as the Transistor, the Sound of some of the works from the Transistorfestivalen able to survive and find a new audience, after the end of the festival. In Malmö, there is also a generosity of spirit between colleagues, he did not see the Stockholm, sweden, or Gothenburg, sweden.
" Here it is, so few people, you know that sooner or later it will have to work together. This allows the climate to become less hateful, and to a greater extent to help one another.
for Himself, he is at a stage where he was standing, and weighs from the variety of options. In recent years, he has devoted himself to teaching and collaboration with other institutions and projects. Maybe there will be more research in the future, maybe even one of the partners.
" a Lot of the things I have done in the Teatr Weimar has always been a kind of artistic research. In my role as a teacher at the theatre academy, I supervised the students. So the step is not so far away, and it could be a good way to go. I feel like for now, if that's where the urge is there. There is no desire, it is not interesting to you.<
Publish Date : 05 Kasım 2019 Salı 01:00
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