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PINK PAVILION 2022

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TEATER GROB PRESENTS<br />

<strong>PINK</strong> <strong>PAVILION</strong><br />

FESTIVAL<br />

8.-10. JUNI <strong>2022</strong>


Red Press, Copenhagen, <strong>2022</strong><br />

Illustrations by Madam Neverstop.<br />

ISBN: 978-87-94003-10-0<br />

All rights reserved by Teater Grob.<br />

www.grob.dk<br />

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editorial<br />

JESPER PEDERSEN<br />

CURATOR & DRAMATURG<br />

Welcome to<br />

Pink Pavilion <strong>2022</strong><br />

This year the writers<br />

are from Finland, Haiti/<br />

France, Israel/Germany<br />

and Denmark. All the<br />

written texts examine<br />

how generations affect<br />

each other and ask what<br />

we are going to give<br />

each other moving<br />

forward.<br />

This is new dramatic<br />

texts that ask what kind<br />

of values and systems<br />

we want to pass on to<br />

the generations ahead.<br />

We hope that the<br />

line-up will make you<br />

laugh, listen. We hope<br />

it will surprise you,<br />

provoke you,<br />

inspire you or at<br />

least give you<br />

some food for<br />

thought.<br />

Have a great festival.<br />

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Why should I<br />

care about future<br />

generations,<br />

what have<br />

they ever<br />

done for me?<br />

- Groucho Marx<br />

4


5


GAPING HOLE<br />

BY SALLA VIIKKA<br />

Finnish playwright and graduate from<br />

the Theater Academy of Finland,<br />

Salla Viikka’s work is centered on<br />

the themes of generational conflicts,<br />

identity, boredom and breaking the<br />

routine of daily life.<br />

She shares that she was always<br />

interested in storytelling, starting by<br />

drawing and making comics, and later<br />

moving on to sharing stories, moved<br />

by the response of her audiences.<br />

As influences Salla mentions that<br />

animation movies, comics, Disney<br />

cartoons and classic animation were<br />

very influential in her early years due<br />

to their slow rhythm, and later sci-fi and<br />

fantasy due to the extraordinary having<br />

room in ordinary situations.<br />

This is a big theme in Gaping Hole,<br />

where the boredom of ordinary life is<br />

suddenly disrupted. “When I came to<br />

the theater, after being a designer, I<br />

thought theater was boring because<br />

it was based on the classical and<br />

ordinary. But in my writing for theater<br />

I discovered the surprise element,<br />

you cannot show different planets<br />

so it gives room to the imagination.”<br />

When asked about Gaping Hole’s<br />

reason and purpose, Salla explains<br />

that a play for three characters was<br />

one of the goals that started the<br />

process, minimalizing a production<br />

and focusing on It won best Finnish<br />

play in 2015 and is now presented as<br />

part of Pink Pavilion festival. “An older<br />

woman, bitter about the way her life<br />

has turned out, using her whole life<br />

in preserving the memory of a great<br />

poet at the National Archive, finds<br />

herself in competition with this new<br />

intern in her early 20s disrupting the<br />

peace, thinking maybe she can make<br />

a doctorate about this poet... there’s<br />

also a male character who is the boss,<br />

maybe unable to see the difficulties this<br />

woman has in this situation. She gets to<br />

do passive-aggressive stuff to regain<br />

territory, a fight over some really small<br />

things, and it turns out very sci-fi, very<br />

absurd, because a hole appears that<br />

transports them to another universe”.<br />

Playwright: Salla Viikka (FI)<br />

Director: Helle Rossing<br />

Performers: Tina Gylling Mortensen,<br />

Maria Cordsen & Ernesto Piga Carbone<br />

Translator: Birgita Bonde Hansen<br />

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PHOTO : ANU NIEMINEN<br />

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WOUNDS ARE<br />

FOREVER<br />

(Self-portrait as National Poet)<br />

BY SIVAN BEN YISHAI<br />

“National poet of whom, exactly?” Sivan asks. “The title<br />

hints to this discourse of the Israeli, Palestinian, German<br />

Bermuda triangle, where many valuable, important<br />

discourses are sinking and disappearing. National poet<br />

of whom, exactly?” she repeats. “In English you have no<br />

name nor word for the place where one was born, holding<br />

all the emotional aspects of what it means to have been<br />

born in one place.”<br />

PHOTO: CHRISTIAN KLEINER<br />

Originally from Tel-Aviv and currently residing in Germany,<br />

Theater Director and Playwright Sivan Ben Yishai has a<br />

transnational story and a desire to find “the genome of<br />

questions” through her writing. Originally focusing on<br />

directing, it was a connection with writing once she allowed<br />

her voice to manifest itself, becoming a prolific writer soon<br />

after. Her plays have been shown at the Deutsches Theater<br />

Berlin, Maxim Gorki Theater Berlin and Theater Lübeck,<br />

among others. A fragment of Wounds Are Forever is<br />

presented as part of Pink Pavilion Festival.<br />

“In this play, I have a protagonist whom I call after my own<br />

name, Sivan Ben Yishai, and she calls in her, as we do,<br />

immigrants... holding several discourses in a way that could<br />

throw a very interesting light into political and national<br />

discourses that we are witnessing all the time, without<br />

being intellectually exhausting. Being an immigrant is to<br />

have all these perspectives and identities clashing and<br />

colliding withing ourselves.”<br />

Playwright: Sivan Ben Yishai (TY/ISR)<br />

Director: Helle Rossing<br />

Performers: Lila Nobel, Tina Gylling Mort<br />

Maria Cordsen & Ernesto Piga Carbone<br />

Translator: Mathias Raaby Ravn<br />

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ensen,<br />

Wounds are forever is a play that attempts to share these<br />

fragments, these unions of parallel identities, touching<br />

deeply on the subjects of shame, as a ride or meditation<br />

on the 20th century from a Jewish, West-European<br />

Perspective, leaning on huge, vast events of history and<br />

jumping through time with this protagonist while switching<br />

identities and roles to belong, to save memories and be<br />

saved, holding all these pictures of histories in her body to<br />

become ageless, positionless, an empty category, a map.<br />

With this play, Sivan Ben Yishai explains that she wants to<br />

check how history imprints us, how we are responsible for<br />

the places we left behind, the discourses we left behind,<br />

and what reminds behind in our body as active ingredients<br />

that keep on working in us and designing and shaping the<br />

stories we tell.<br />

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THE BLOOD PACT<br />

BY NIELS HENNING KRAG JENSBY<br />

Niels Henning Krag Jensby is based<br />

in Denmark, where he earned national<br />

attention during the debut of his novel<br />

Techno, released by Gyldendal in 2016,<br />

and which later became a play. He explains<br />

that he centers on the subjects of the gaysphere<br />

and culture, and the connections<br />

of the dynamics of violence, internally and<br />

externally, physically and mentally, which<br />

is created from not fitting into the majority<br />

narratives, due to older generations’<br />

trauma, creating negative cycles which<br />

people are forced to process in order to<br />

define their own identities.<br />

A Danish novelist and playwright, Niels<br />

Henning started a blog in the early ‘10s and<br />

soon after joined the Academy of Creative<br />

Writing, which allowed him to submerge<br />

himself in literature, fundamentally<br />

changing him and his perception with the<br />

world.<br />

PHOTO: JOAKIM ALMROTH<br />

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“When you write literature you sit and think<br />

and think, and theater is more about doing,<br />

which I found like a good challenge” he<br />

explains, when talking about writing this<br />

play. “It’s a huge contrast but you also<br />

have to think about the physical space,<br />

the bodies, the people you have to write<br />

instructions to, and this at the end becomes<br />

art... what I find the most different is not the<br />

final product, but an instruction manual to<br />

how to make the final product”.<br />

“I wanted to write about an important<br />

author in post-war Japan who committed<br />

seppuku, he had a private army of young<br />

men and he tried to make a coup and<br />

failed, so him and his best in command<br />

also commited suicide. His character is<br />

complex and problematic because he<br />

was a nationalist, a fascist, but also a gay<br />

man, a closeted gay man. I didn’t want<br />

to idolize him nor his final act... So rather<br />

than writing about him, I wrote about his<br />

next-in-command, his journey and<br />

fictionalized love story, which had wild<br />

consequences. We meet him as he visits<br />

the gravesite of his parents the day before<br />

they’re supposed to commit this coup.”<br />

Playwright: Niels Henning Krag Jensby (DA)<br />

Director: Sargun Oshana<br />

Performer: Lasse Steen Jensen<br />

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OPÉRA POUSSIÉRE<br />

BY JEAN D’AMERIQUE<br />

“I am the testimony of the power of poetry” says<br />

poet, novelist and playwright Jean D’Amerique,<br />

speaking from Port-au-Prince, when asked about the<br />

effect of writing in his life. The poet resides in Paris,<br />

Brussels and Haiti, where he was born. “I started<br />

listening to Hip-Hop when I was 12, fascinated by<br />

this music which is poetry, and which gave me the<br />

motivation to write because it was by young people<br />

from neighborhoods like mine, rejecting society and<br />

making poetry look like power, a way to have a voice<br />

in this world. I quickly after made a lot of poetry and<br />

books, and continued to follow this path to the point<br />

where poetry is now essential in my life.”<br />

Jean D’Amerique grew up in a country where social<br />

and political violence were frequent, something<br />

which greatly influenced the subjects of his writing.<br />

“I didn’t need to look for subjects anywhere else,<br />

I write about what concerns my life and the lives<br />

of those who live around me. The poetry is from<br />

my hood, from my bone and flesh, because I need<br />

to talk about those who are rejected in society, to<br />

give a voice to those don’t have one”. His latest<br />

book, Atelier du silence, recently was awarded the<br />

Heather-Dohoullau Price this <strong>2022</strong>.<br />

12


Playwright: Jean d’Amerique (FR/HAI)<br />

Director: Nina Rudawski<br />

Performers: Lila Nobel & Lasse Steen Jensen<br />

Translator: Lone Garde<br />

Speaking on the play presented at this festival, he<br />

explains that he based it on “a Haitian woman who<br />

was a fighter, a revolutionary against colonialism<br />

in Haiti, so I didn’t know that it could be relevant<br />

for Copenhagen, but ok, it’s not just about Haitian<br />

history, she’s an example for the world, by fighting<br />

a specific violence when we were occupied by<br />

France, but we didn’t learn about her life in school,<br />

so I was really fascinated by her story once I started<br />

researching her... so I wanted to take her from the<br />

dust and share her story. Give her some light. She<br />

comes back to life, a sort of ghost, asking us to give<br />

her the place she deserves, even launching a social<br />

media campaign to tell the world: I am here”.<br />

PHOTO: JOAKIM ALMROTH<br />

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<strong>PINK</strong> <strong>PAVILION</strong><br />

2021<br />

14


15


<strong>PINK</strong> <strong>PAVILION</strong><br />

<strong>2022</strong><br />

PHOTO: BIRK THOMASSEN<br />

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CURATION: INTERGENERATIONAL SOLIDARITY<br />

<strong>PINK</strong> <strong>PAVILION</strong> <strong>2022</strong><br />

will present new writing<br />

that provides a new<br />

perspective on the topic<br />

of sustainability, which we<br />

call intergenerational<br />

solidarity.<br />

Never before has there<br />

been a time in history<br />

where our actions and<br />

decisions had such<br />

monumental<br />

consequences for future<br />

societies as they do<br />

now. We aim to present<br />

new writing that asks<br />

What ideas do we wish to<br />

pass on to these coming<br />

generations? What values<br />

do we want to dismantle<br />

here and now, in order<br />

to cease their negative<br />

impact in the future?<br />

Our hope is that<br />

by presenting a rich and<br />

diverse program<br />

of artists and genres<br />

under the banner<br />

of intergenerational<br />

solidarity and<br />

sustainability,<br />

perhaps we can<br />

see the beginning of<br />

a new aesthetics and<br />

ethics in theatre,<br />

whichpurposely touches<br />

emotional fibers<br />

in the audience, creating<br />

connections between<br />

the well being of present<br />

generations and the<br />

reflections in the ones to<br />

come.<br />

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All the interviews collected on this booklet<br />

are contained as full episodes of the Red<br />

Transmissions Podcast as a collaboration<br />

with Teater Grob. Listen to them on most podcast<br />

providers or visit www.redtransmissions.libsyn.com<br />

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For more information go to www.grob.dk

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