Peer gynt


  • Images and a Popular Emotionalism: Peer Gynt
  • PEER GYNT. FIRST TIME IN ALBANIAN LANGUAGE
  • The Peer Gynt Play at Gålå 2021
  • Teatro stotele
  • Ibsen’s Peer Gynt
  • Images and a Popular Emotionalism: Peer Gynt

    Macedonia, Albania and Kososvo. First time in Albanian language. Balkan Regional Project. The production involves actors, directors, producers and costume designers from Macedonia, Kosovo, Albania, Serbia and Slovenia. The play is staged on three different venues in three different countries. The project embraces multi-cultural and multi-ethnical elements in the artistic collaboration both with the involved artist and leading theatrical institutions from the three nations.

    The first act, presenting the young Peer Gynt, will be staged in Tirana, Albania and directed by an Albanian director.

    The second act, presenting Peer Gynt in his twenties, will be staged in Pristine, Kosovo by a Kosovan director and the third act, the middle aged Peer, in Skopje, Macediona by a Macedonian director. The three parts, directed by different directors in different locations in the three countrys, will together make a whole theatre performance, supervised by Slobodan Unkovski.

    In addition to the performances, The Academies of Drama Arts in each city will arrange workshops for their students introducing Ibsen and his dramas with focus on Peer Gynt. He is employed as an actor in the Albanian Drama of the Theatre of Nationalities in Skopje, Macedonia and has also been the artistic director of the theatre. In addition to have played a number of different characters on stage, he has also produced both plays and movies.

    He has also received a number of awards for his productions. Unkovski has directed Peer Gynt twice before. Project updates Bajursh Mjaku at the award ceremony in Skien.

    Photo by Dag Jenssen.

    Kyoung-hee Kwon [1] Author: Henrik Ibsen. Theatre Dir ector: Jung-woong Yang. At the back of the stage is a huge mirror which distorts the objects it reflects and, on the floor of the stage, a low rectangular frame is filled with coarse dust.

    The play is in 5 acts and 38 scenes, covering half a century and moving from the mountain areas of Norway to the Arabian deserts, from Europe to Asia. Its fictional world is full of phantasmal grotesqueness and extraordinary imagination which span the human world, myths and fantasies.

    It is rich with poetic textures made of poetic metaphors and symbols, rapid progressions and condensations, rhythms and resonances. As a result, the flapping of the wings of fantasies, visions and daydreams, which counter the realities in the play, is the very powerhouse that generates the inner energy and the external movement. Director Jung-woong Yang minimizes and condenses the lyricism and the overall aesthetic of the long sentences of the original language in the play.

    Instead, he has used simple and familiar everyday language by which he emphasizes the contemporaneity of the play, and attempts to magnify the brilliant and sensual images in the play.

    Because Yang focuses on creating impressive images for each scene, the larger meanings intended in the language and the actions of the characters, including those of Peer Gynt, have been scaled down.

    Peer Gynt makes his appearance to the popular standard My Way as a successful illegal weapons dealer; the scene which takes place on a deck in the North Sea as Peer Gynt is returning home is now in the first class seats in an airplane; the troll king, who has now become a beggar, appears, instead of carrying a bundle in his arms, pushing the kind of grocery store shopping cart used today.

    In this way, this production has turned the romantic symbolism of the original play into a popular emotionalism. It also symbolizes the universal desires for peace and resolution.

    About the huge mirror and the dust at the back of the stage. Dust is quite often a metaphor for rest, recurrence and eternity. The human body is material—that is, after all, dust. On the other hand, the human soul and mind are immaterial. While it is true that dust represents a foundation and a source, the dust scattered in the air betrays this idea and floats in the air. This is when we witness the inner state of Peer Gynt, who desires to wander aimlessly in the world forgetting his reason for existence just like dust, a part of nature but lost in the air.

    If dust is essence and reality, the mirror is a multi-layered signifier. Naturally, a mirror is a distorted essence and a fiction. The mirror in the performance, however, is the opposite: it spies on and reveals the secret essence hidden behind the reality. The mirror watches all these actions coldly and sternly insists on its existence.

    Like the paintings of the Surrealist, Dali, it reflects everything distorted, crushed and melted away. In the images disfigured in the mirror, we get to see what Peer Gynt is missing in his life, that is, the weight of a life dedicated to being human.

    Thus, we may be able to say that Peer Gynt is a symbolic image of desire while the mirror is nature and a substance that reflects the truth. The world is an entity with its own rules and systems whether they are good or bad, and, therefore, a prison for a dreamer like Peer Gynt. Nevertheless, he does not leave just because he has to.

    Rather, he is able to leave because he desires to leave. When we consider that the mirror functions to reflect in a transcendental manner and to give meaning to the alienation of the man who has exiled himself, it becomes clear what director Jung-woong Yang was attempting to achieve with his modern approach to Peer Gynt: by juxtaposing the man who is existentially alienated, with the mirror which exposes the naked truth behind his image as a wanderer, he wanted to expose the interior sealed in the original text.

    The dust floor is concrete reality, and the mirror allows another meaning through distancing. The real substance between them, distorted and melted away, escapes a fixed meaning. This becomes the real world of Peer Gynt, and we come slowly, progressively to the poetic recognition that it can only be experienced subjectively, as abstract truth. Only by giving up his indolence, falsity, arrogance and escapism, can he reflect on himself, know himself and deserve salvation.

    Whereas the original text ends when Gynt erases the basis of his personality, this performance shows his death. Peer Gynt, naked, walks into the plastic booth now become the place where the Button-moulder does his melting and lays his body down on the cold, dusty floor. Onto the dead body of Peer Gynt, who has been a dreamer—an arrogant man chasing after futile dreams—and who is now returning to nature, comes peace along with the shadow of nothingness.

    It seems that Jung-woong Yang also struggled with this challenge. She received her Ph.

    The second act, presenting Peer Gynt in his twenties, will be staged in Pristine, Kosovo by a Kosovan director and the third act, the middle aged Peer, in Skopje, Macediona by a Macedonian director. The three parts, directed by different directors in different locations in the three countrys, will together make a whole theatre performance, supervised by Slobodan Unkovski.

    In addition to the performances, The Academies of Drama Arts in each city will arrange workshops for their students introducing Ibsen and his dramas with focus on Peer Gynt.

    PEER GYNT. FIRST TIME IN ALBANIAN LANGUAGE

    He is employed as an actor in the Albanian Drama of the Theatre of Nationalities in Skopje, Macedonia and has also been the artistic director of the theatre. In addition to have played a number of different characters on stage, he has also produced both plays and movies. He has also received a number of awards for his productions. Unkovski has directed Peer Gynt twice before.

    Project updates Bajursh Mjaku at the award ceremony in Skien. In this way, this production has turned the romantic symbolism of the original play into a popular emotionalism.

    The Peer Gynt Play at Gålå 2021

    It also symbolizes the universal desires for peace and resolution. About the huge mirror and the dust at the back of the stage. Dust is quite often a metaphor for rest, recurrence and eternity.

    The human body is material—that is, after all, dust. On the other hand, the human soul and mind are immaterial. While it is true that dust represents a foundation and a source, the dust scattered in the air betrays this idea and floats in the air.

    Teatro stotele

    This is when we witness the inner state of Peer Gynt, who desires to wander aimlessly in the world forgetting his reason for existence just like dust, a part of nature but lost in the air. If dust is essence and reality, the mirror is a multi-layered signifier. Naturally, a mirror is a distorted essence and a fiction. The mirror in the performance, however, is the opposite: it spies on and reveals the secret essence hidden behind the reality.

    Ibsen’s Peer Gynt

    The mirror watches all these actions coldly and sternly insists on its existence. Like the paintings of the Surrealist, Dali, it reflects everything distorted, crushed and melted away.

    In the images disfigured in the mirror, we get to see what Peer Gynt is missing in his life, that is, the weight of a life dedicated to being human. Thus, we may be able to say that Peer Gynt is a symbolic image of desire while the mirror is nature and a substance that reflects the truth.

    The world is an entity with its own rules and systems whether they are good or bad, and, therefore, a prison for a dreamer like Peer Gynt. Nevertheless, he does not leave just because he has to. Rather, he is able to leave because he desires to leave. When we consider that the mirror functions to reflect in a transcendental manner and to give meaning to the alienation of the man who has exiled himself, it becomes clear what director Jung-woong Yang was attempting to achieve with his modern approach to Peer Gynt: by juxtaposing the man who is existentially alienated, with the mirror which exposes the naked truth behind his image as a wanderer, he wanted to expose the interior sealed in the original text.


    thoughts on “Peer gynt

    • 13.08.2021 at 17:41
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      Looking what fuctioning

      Reply
    • 15.08.2021 at 22:35
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      Excuse for that I interfere � At me a similar situation. Write here or in PM.

      Reply
    • 17.08.2021 at 07:56
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      .. Seldom.. It is possible to tell, this exception :)

      Reply

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