Considered successor of Ibsen and Beckett, is one of the most respected contemporary playwrights
(Full Story)
By Pablo Gorlero
(Special Envoy)
OSLO .- Two weeks ago, Norway filled their palates with the delicious nectar of the nine muses. Spikersuppa around the square in a corner could be heard a snippet of La Traviata, and two blocks later, a splendid cover of jazz. A hundred meters, the statue of Henrik Ibsen wrapped in red ribbons, white and blue, made him a nod to dramatist successor, discreet, slipping by the National Theatre. Gordito, his nose red and painfully shy, Jon Fosse that he had no drain through the halls of this beautiful architecture to receive a prize and take charge dreamed of being the strongest contemporary theatrical reference in Norway.
The author's name, the night singing their songs, the son and many other works of the new European theater, received the International Ibsen Award 2010, the same as last year gave the French director Ariane Mnouchkine and year to Peter Brook. But not only is an award involving prestige, but a touch to financial peace of mind: it gives no less than 300,000 euros. Fosse
traveled from the beautiful city of Bergen, where he lives, and spent all that morning wandering around the stage to greet the authorities and the press. After noon, mid-afternoon, for the very simple ceremony, took the stage, received a bouquet of flowers, a huge prize diploma and placed under his armpit. Although I had the wireless microphone stand, let alone tried to escape. He was arrested and had no choice but to acknowledge and justify his few words he had been drinking a little more at lunch. It was a funny excuse. A Fosse will always win shyness and humility, but the humor that rescues often take reddish cheeks.
The Ibsen Festival committee reported that the grand prize was to Fosse for "dramatic authorship only, opening doors to the silent mysteries performing pursuing humans from birth to death."
Today, Jon Fosse is one of the biggest names in modern European drama. And for Norwegians is the main cultural ambassador, as its sensitivity embraces the five continents since 1994. With pride, his countrymen counted some 900 productions of his works throughout the world (but, of course, must have more). Only 50 years old and feels a marginal in the art world. Not usually go to the theater and entered the world of drama only on request. Already in his early works, Jon Fosse soon found that his style would begin to be visible. What characterizes his poetic dialogue, its repetitions and the absence of such conflicts incisors which form the core of Western drama. In his first work, Somebody is Going to Come , a man and a woman come to an old house on the coast. Apparently, nothing happens. They aspire to live there protected in the world and repeat the spell that is the title of the book: "Someone is coming." And when a neighbor arrives unexpectedly, a feeling of bewilderment slips.
The author's name, the night singing their songs, the son and many other works of the new European theater, received the International Ibsen Award 2010, the same as last year gave the French director Ariane Mnouchkine and year to Peter Brook. But not only is an award involving prestige, but a touch to financial peace of mind: it gives no less than 300,000 euros. Fosse
traveled from the beautiful city of Bergen, where he lives, and spent all that morning wandering around the stage to greet the authorities and the press. After noon, mid-afternoon, for the very simple ceremony, took the stage, received a bouquet of flowers, a huge prize diploma and placed under his armpit. Although I had the wireless microphone stand, let alone tried to escape. He was arrested and had no choice but to acknowledge and justify his few words he had been drinking a little more at lunch. It was a funny excuse. A Fosse will always win shyness and humility, but the humor that rescues often take reddish cheeks.
The Ibsen Festival committee reported that the grand prize was to Fosse for "dramatic authorship only, opening doors to the silent mysteries performing pursuing humans from birth to death."
Today, Jon Fosse is one of the biggest names in modern European drama. And for Norwegians is the main cultural ambassador, as its sensitivity embraces the five continents since 1994. With pride, his countrymen counted some 900 productions of his works throughout the world (but, of course, must have more). Only 50 years old and feels a marginal in the art world. Not usually go to the theater and entered the world of drama only on request. Already in his early works, Jon Fosse soon found that his style would begin to be visible. What characterizes his poetic dialogue, its repetitions and the absence of such conflicts incisors which form the core of Western drama. In his first work, Somebody is Going to Come , a man and a woman come to an old house on the coast. Apparently, nothing happens. They aspire to live there protected in the world and repeat the spell that is the title of the book: "Someone is coming." And when a neighbor arrives unexpectedly, a feeling of bewilderment slips.
On the beautiful terrace of the National Theatre received the NATION, only half of Latin America, to speak briefly of his career and this time for tributes and recognitions. "I am surprised by the decision of this jury, which also includes someone who I admire greatly and is highly respected: Patrice Chéreau. I am very grateful that I have chosen," he says in reference to the prize.
- Why do you think that was awarded this prize?
I do not know, because I am surprised by the decision of the jury, someone I admire a lot and is well respected (Patrice Chéreau). I am very grateful that I have chosen.
- Why do you think that was awarded this prize?
I do not know, because I am surprised by the decision of the jury, someone I admire a lot and is well respected (Patrice Chéreau). I am very grateful that I have chosen.
"With Patrice Chéreau worked very directly in the assembly of I am the wind. Do you regularly work alongside some directors on productions of his works?
"Not at all. The director certainly sees the author as a burden. For Chéreau, is different. We exchanged e-mails frequently. She asked questions and answered them as best as possible. But I'll never testing or anything like that. Of course, after I went to Paris to see the setting.
"And when you leave to see his works," often think about the show?
"I have a policy that is no official comment on the proposals I've seen of my work. It is very difficult to see my opinion in the newspapers about some work. I will leave everyone happy. Much less could make a comment out of a premiere. The artists come up with some happiness, even though they know that what they did is not the best. Well, pass cute. Why do I have to ruin the night?
"Not at all. The director certainly sees the author as a burden. For Chéreau, is different. We exchanged e-mails frequently. She asked questions and answered them as best as possible. But I'll never testing or anything like that. Of course, after I went to Paris to see the setting.
"And when you leave to see his works," often think about the show?
"I have a policy that is no official comment on the proposals I've seen of my work. It is very difficult to see my opinion in the newspapers about some work. I will leave everyone happy. Much less could make a comment out of a premiere. The artists come up with some happiness, even though they know that what they did is not the best. Well, pass cute. Why do I have to ruin the night?
-Ah ... but very good ...
"Better be.
- Are not you a bit of fear and curiosity when it grants the permission to represent their works abroad?
"I am very excited to know of the existence of some production in another country. And the more distant it is, the more I like. I traveled 24 hours to see some of my productions. My responsibility is limited to adaptation. I hope original publication, but I can not make a strict control of the translations. It is almost impossible. I know what are the translations and that the proposals vary, but my part is made in the text. Well, sure I've seen some lousy productions and other very good. But I'm interested in how managers work with my writing. The stronger the voices of the principals, and the less seek to impose my presence, my texts appear more pure. It's strange. One danger is to impose the author's voice.
"But you always manifested a great concern, a special interest in theatrical language ...
"My ambition is that the essence of writing clear and reflect in a true local and universal at once. But I also try to disappear, although clearly warned me, the author. I'm not very aware of what I write when I'm doing. I choose to ignore what I write and just try to write as accurately as I can. Of course I'm saying something, and I know the text says something about me.
- Why did the novel to engage in the drama?
"I started to think that the prospect of my writing was too distant in the novels. In that sense, it is easier to write plays, because they're everywhere and nowhere at once. You yourself closer and connected.
- What is their relationship with the theater of Ibsen and what you feel when you compare him?
"It's an interesting question. That is unfair to Ibsen and me. The playwright was immense. Pinter can not compare with Ibsen or Shakespeare to him. It is not right to compare a playwright Ibsen as huge as me.
"I heard out there who always writes together ...
"Yes. For me it is a great pleasure creative work in Bergen, with these landscapes and the company of my dog. It is the third that I have. I wanted to put Beckett, but it is so small that it is not for me to call him so ... Nor could call Ibsen. So I decided to call Eckhard.
- What leads a normal life, someone whom everyone calls all the time genius? "It affects the ego?
"No, to be honest, I try to live my life in the most distant to it. There are some very rare social occasions. But I still have my normal little life.
- found a special attraction to review Greek tragedies ... "I
rewritten versions of Oedipus Rex, Oedipus at Colonus and Iphigenia. I just try to listen to these voices as old. They are so strong. It is not difficult, in that sense, set the voices and make them talk to my way.
"In his works, what their characters do not say is almost as important, or more, that it they say. These silences speak when you think about them.
"I believe in my writing, and even in a broader sense, it is not so important what is said and what is said is not exactly or in words or on the edges. What is the invisible hand is important because it is invisible as such. To write a good work, you have to write thinking about those unseen forces. In a good production is almost invisible visible. That is the essence of theater.
- What do you think of the new theater trends in the world?
"Every country is different. In Germany, for example, there are some new ways, but correspond to transitional forms. No major global trends.
- Is there a text back to the theater?
"Maybe. In the 80's, one was doing theater in accordance with a certain way, thinking of the artists. But when I spent 15 or 20 years you get bored because I saw those performances many times. We may be going back to the works of text.
- Are not you a bit of fear and curiosity when it grants the permission to represent their works abroad?
"I am very excited to know of the existence of some production in another country. And the more distant it is, the more I like. I traveled 24 hours to see some of my productions. My responsibility is limited to adaptation. I hope original publication, but I can not make a strict control of the translations. It is almost impossible. I know what are the translations and that the proposals vary, but my part is made in the text. Well, sure I've seen some lousy productions and other very good. But I'm interested in how managers work with my writing. The stronger the voices of the principals, and the less seek to impose my presence, my texts appear more pure. It's strange. One danger is to impose the author's voice.
"But you always manifested a great concern, a special interest in theatrical language ...
"My ambition is that the essence of writing clear and reflect in a true local and universal at once. But I also try to disappear, although clearly warned me, the author. I'm not very aware of what I write when I'm doing. I choose to ignore what I write and just try to write as accurately as I can. Of course I'm saying something, and I know the text says something about me.
- Why did the novel to engage in the drama?
"I started to think that the prospect of my writing was too distant in the novels. In that sense, it is easier to write plays, because they're everywhere and nowhere at once. You yourself closer and connected.
- What is their relationship with the theater of Ibsen and what you feel when you compare him?
"It's an interesting question. That is unfair to Ibsen and me. The playwright was immense. Pinter can not compare with Ibsen or Shakespeare to him. It is not right to compare a playwright Ibsen as huge as me.
"I heard out there who always writes together ...
"Yes. For me it is a great pleasure creative work in Bergen, with these landscapes and the company of my dog. It is the third that I have. I wanted to put Beckett, but it is so small that it is not for me to call him so ... Nor could call Ibsen. So I decided to call Eckhard.
- What leads a normal life, someone whom everyone calls all the time genius? "It affects the ego?
"No, to be honest, I try to live my life in the most distant to it. There are some very rare social occasions. But I still have my normal little life.
- found a special attraction to review Greek tragedies ... "I
rewritten versions of Oedipus Rex, Oedipus at Colonus and Iphigenia. I just try to listen to these voices as old. They are so strong. It is not difficult, in that sense, set the voices and make them talk to my way.
"In his works, what their characters do not say is almost as important, or more, that it they say. These silences speak when you think about them.
"I believe in my writing, and even in a broader sense, it is not so important what is said and what is said is not exactly or in words or on the edges. What is the invisible hand is important because it is invisible as such. To write a good work, you have to write thinking about those unseen forces. In a good production is almost invisible visible. That is the essence of theater.
- What do you think of the new theater trends in the world?
"Every country is different. In Germany, for example, there are some new ways, but correspond to transitional forms. No major global trends.
- Is there a text back to the theater?
"Maybe. In the 80's, one was doing theater in accordance with a certain way, thinking of the artists. But when I spent 15 or 20 years you get bored because I saw those performances many times. We may be going back to the works of text.
- You have many issues of interest to write, after nearly 40 works?
"I'm not sure ... I think not. I've written a lot. Small pieces may have written. Now I'm pretty dedicated to making many translations and brochures. In recent years I was not writing a lot of theater. When I write I am not very aware of what I'm doing. I choose to ignore what I write and just try to make it as accurate as I can. Of course I'm saying something, and I know the text says something about me. But do not think too much.
- How is the process of creating each time you encounter an idea?
"I feel and I prefer not to know much of my work, then start writing. If the beginning is good, holds the rest. If I have this crazy feeling that my work appeared, no unemployment and everything around me disappears.
"I'm not sure ... I think not. I've written a lot. Small pieces may have written. Now I'm pretty dedicated to making many translations and brochures. In recent years I was not writing a lot of theater. When I write I am not very aware of what I'm doing. I choose to ignore what I write and just try to make it as accurate as I can. Of course I'm saying something, and I know the text says something about me. But do not think too much.
- How is the process of creating each time you encounter an idea?
"I feel and I prefer not to know much of my work, then start writing. If the beginning is good, holds the rest. If I have this crazy feeling that my work appeared, no unemployment and everything around me disappears.
FOSSE WORKS IN TWO SIGN:
name of Jon Fosse, directed by Phaedra Analía García.
La Carbonera, Balcarce 998 (4362-2651). Friday at 22.45. 25 to 40 pesos.
name of Jon Fosse, directed by Phaedra Analía García.
La Carbonera, Balcarce 998 (4362-2651). Friday at 22.45. 25 to 40 pesos.
The night sings its songs , Jon Fosse, directed by Daniel Veronese.
Timbre 4, 3554 Mexico (4932-4395). Sundays at 17 (until 28 November) $ 40.
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