{"id":199,"date":"2017-10-14T16:27:58","date_gmt":"2017-10-14T16:27:58","guid":{"rendered":"https:\/\/www.critical-stages.org\/16\/?p=199"},"modified":"2022-02-28T21:05:46","modified_gmt":"2022-02-28T21:05:46","slug":"scenes-from-norways-heddadagene-theatre-festival","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/16\/scenes-from-norways-heddadagene-theatre-festival\/","title":{"rendered":"Scenes from Norway\u2019s <em>Heddadagene<\/em> Theatre Festival"},"content":{"rendered":"<p><strong>Eylem Ejder<a href=\"#end\">*<\/a><\/strong><\/p>\n<p>HEDDADAGENE Theatre Festival, organized by twenty-nine Norwegian theatre companies under the festival director \u00c5slaug L\u00f8seth Magnusson in Oslo, Norway. June 9-18, 2017.<\/p>\n<p>Norway has an annual national theatre festival called <em>Heddadagene <\/em>(<em>Hedda Days<\/em>), gathering theatre companies from all around the country. In this essay, I write about Det Norske Teatre\u2019s <em>Mourning Becomes Electra<\/em>, National Theatre\u2019s <em>Chaos is the Neighbour of God<\/em> and Jo Str\u00f8mgren Kompani\u2019s adaptation of Ibsen\u2019s <em>A Doll\u2019s House<\/em>.<\/p>\n<div align=\"center\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/HdXKNYKfCRI?rel=0\" width=\"700\" height=\"393\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/div>\n<p>Det Norske Teatret (DNT, Norwegian Theatre in Oslo) is a leading theatre company in Norway. During <em>Heddadagene<\/em>, it was possible to see several performances staged by DNT. One of them is Eugene O\u2019Neill\u2019s Greek tragedy adaptation, <em>Mourning Becomes Electra<\/em>, staged by Eirik Stub<em>\u00f8. As we know, O\u2019Neill rewrote <\/em><em>The Oresteia<\/em><em>, Aeschylus\u2019 trilogy, and transformed the story of Agamemnon\u2019s royal family into a modern family tragedy. He adapted the consequences of the Trojan War to those of the American Civil War on General Ezra Mannon\u2019s family, observing it through Freud\u2019s psychoanalytic theory.<\/em><\/p>\n<p>Set designer Kari Gravklev creates a jazz bar in the middle of the stage. Black and white photographic images and movie montages are reflected on the back wall of the stage. There are no other props except a few chairs on both sides of the stage. The performance consists of three parts called \u201chomecoming,\u201d \u201cthe haunted,\u201d and \u201cmourning becomes Electra,\u201d unfolding the destruction of a modern family with particular emphasis on both recurring and spreading\u2014or, more precisely, haunting and haunted feelings in the very deepest part of the characters. To expose painful and passionate feelings, actors perform occasional solo acts, singing songs such as The Doors\u2019 <em>Riders on the Storm<\/em> and Deep Purple\u2019s <em>Child in Time<\/em>. They are going to die, and it is only then that they (manage to) express their innermost feelings. By this choice, a performer becomes not only a soloist, but also a part of an ensemble. On the back wall of the stage, stormy autumn landscapes express the feelings of the young generation. Similarly, we are shown the mother\u2019s memories from a time before the action of the play begins.<\/p>\n<figure id=\"attachment_201\" aria-describedby=\"caption-attachment-201\" style=\"width: 700px\" class=\"wp-caption aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"201\" data-permalink=\"https:\/\/www.critical-stages.org\/16\/scenes-from-norways-heddadagene-theatre-festival\/picture1\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture1.jpg?fit=700%2C392&amp;ssl=1\" data-orig-size=\"700,392\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Picture1\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Performers are having a chat in the jazz bar of Mourning Becomes Electra. Photo by Erik Berg&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture1.jpg?fit=700%2C392&amp;ssl=1\" class=\"size-full wp-image-201\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture1.jpg?resize=700%2C392&#038;ssl=1\" alt=\"\" width=\"700\" height=\"392\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture1.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture1.jpg?resize=300%2C168&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption id=\"caption-attachment-201\" class=\"wp-caption-text\">Performers are having a chat in the jazz bar of <em>Mourning Becomes Electra<\/em>. Photo by Erik Berg<\/figcaption><\/figure>\n<p>The choreography highlights the emotional distance between the characters. They look distant, cool, self-enclosed and lost in memories. The most palpable evidence is the scene where the mother Christine becomes very self-enclosed after her lover Adam\u2019s death. In these scenes, the cameraman zooms in on the performers\u2019 faces and the close-ups are superimposed on the back wall. But when they begin to sing, they also act out all the things they have long suppressed.<\/p>\n<figure id=\"attachment_202\" aria-describedby=\"caption-attachment-202\" style=\"width: 700px\" class=\"wp-caption aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"202\" data-permalink=\"https:\/\/www.critical-stages.org\/16\/scenes-from-norways-heddadagene-theatre-festival\/picture2\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture2.jpg?fit=700%2C391&amp;ssl=1\" data-orig-size=\"700,391\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Picture2\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Gjertrud Jynge as mother Christhine Mannon, singing her farewell song in Mourning Becomes Electra. Photo by Erik Berg&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture2.jpg?fit=700%2C391&amp;ssl=1\" class=\"size-full wp-image-202\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture2.jpg?resize=700%2C391&#038;ssl=1\" alt=\"\" width=\"700\" height=\"391\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture2.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture2.jpg?resize=300%2C168&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption id=\"caption-attachment-202\" class=\"wp-caption-text\">Gjertrud Jynge as mother Christhine Mannon, singing her farewell song in <em>Mourning Becomes Electra<\/em>. Photo by Erik Berg<\/figcaption><\/figure>\n<p>Each of the parts that follows shows similarly passionate relationships, particularly within the Mannon family. First, it is the father-daughter relationship between Ezra Mannon (Bj\u00f8rn Skagestad) and Lavinia (Kirsti Stub\u00f8); then, the mother-son relationship between Christine Mannon (Gjertrud Jynge) and Orin (Torbj\u00f8rn Eriksen); and, finally, the brother-sister relationship between Orin and Lavinia. Lavinia is shown in a very masculine style, but, after her mother\u2019s death, she becomes a replica of her mother, wearing Christhine\u2019s green dress. The production presents femininity as a favorable change in her.<\/p>\n<p>The second production to discuss, entitled <em>Chaos is Neighbour of God<\/em>, is from the National Theatre in Oslo, written by Swedish playwright Lars Nor\u00e9n and staged by Kjersti Horn. It lasts three hours without a break. It is a story about a Scandinavian family whose members came together at the father Ernst\u2019s hotel on a cold evening. The family consists of an alcoholic father, Ernst (Terje Str\u00f8mdahl), a mother with cancer, Helen (Ellen Horn), a criminal son, Frank (Glenn Andre Kaada), and a schizophrenic gay son, Ricky (Emil Johnsen). Besides these, there is an old woman, Rex (Fr\u00f8ydis Armand), who has stayed in the hotel for a couple of years without paying.<\/p>\n<figure id=\"attachment_203\" aria-describedby=\"caption-attachment-203\" style=\"width: 700px\" class=\"wp-caption aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"203\" data-permalink=\"https:\/\/www.critical-stages.org\/16\/scenes-from-norways-heddadagene-theatre-festival\/picture3\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture3.jpg?fit=700%2C467&amp;ssl=1\" data-orig-size=\"700,467\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Picture3\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Terje Str\u00f8mdahl as Ernst, doing accounts at the reception desk in Chaos is Neighbour of God. Photo by \u00d8yvind Eide.&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture3.jpg?fit=700%2C467&amp;ssl=1\" class=\"size-full wp-image-203\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture3.jpg?resize=700%2C467&#038;ssl=1\" alt=\"\" width=\"700\" height=\"467\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture3.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture3.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption id=\"caption-attachment-203\" class=\"wp-caption-text\">Terje Str\u00f8mdahl as Ernst, doing accounts at the reception desk in Chaos is <em>Neighbour of God<\/em>. Photo by \u00d8yvind Eide.<\/figcaption><\/figure>\n<p>The scenographer Sven Haraldsson has created a huge plastic curtain. Everything happens behind this projection-like curtain. Thus, we see the performance via two adjoining video projections that make us feel that we are watching filmed theatre. Here is the hotel\u2019s waiting room with a reception desk. A cameraman follows the actors all the time and reflects the action on the screen. One screen may display one character while the other screen shows the whole stage. The camera gives us access to offstage spaces where Ricky is having a shower or Helen is cleaning the toilet.<\/p>\n<figure id=\"attachment_204\" aria-describedby=\"caption-attachment-204\" style=\"width: 700px\" class=\"wp-caption aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"204\" data-permalink=\"https:\/\/www.critical-stages.org\/16\/scenes-from-norways-heddadagene-theatre-festival\/picture4\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture4.jpg?fit=700%2C463&amp;ssl=1\" data-orig-size=\"700,463\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Picture4\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;The last scene of Chaos is Neighbour of God, after Ricky (Emil Johnsen) has torn down the plastic curtain. Photo by \u00d8yvind Eide.&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture4.jpg?fit=700%2C463&amp;ssl=1\" class=\"size-full wp-image-204\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture4.jpg?resize=700%2C463&#038;ssl=1\" alt=\"\" width=\"700\" height=\"463\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture4.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture4.jpg?resize=300%2C198&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption id=\"caption-attachment-204\" class=\"wp-caption-text\">The last scene of Chaos is <em>Neighbour of God<\/em>, after Ricky (Emil Johnsen) has torn down the plastic curtain. Photo by \u00d8yvind Eide.<\/figcaption><\/figure>\n<p>Toward the end, something happens\u00a0that we have been hoping would happen all along. Ricky tears down the projection-curtain after he has smashed everything on the stage as a response to his family\u2019s lack of interest. Therefore, the only thing we can see with the naked eye is nothing but a ruined hotel or the stage itself.<\/p>\n<p>My third topic is again a family drama, Ibsen\u2019s<em> A Doll\u2019s House<\/em> by Jo Str\u00f8mgren Kompani\u2014\u201ca Norwegian dance theatre company with a large global distribution,\u201d in their own words\u2014staged at The Oslo Opera House. The director, set designer and also the choreographer of the performance, Jo Str\u00f8mgren, creates, despite its gloomy atmosphere, a funny and playful performance space with a real dollhouse, playing with an Ibsenian sense of claustrophobia. This choice means, of course, attempting to transform the apparent metaphors of Ibsen\u2019s drama, such as playing house and living in a \u201cdollhouse\u201d as a child, into a new theatrical language. In addition, to act in a scaled- down house shows the disharmony in their marriage.<\/p>\n<figure id=\"attachment_205\" aria-describedby=\"caption-attachment-205\" style=\"width: 700px\" class=\"wp-caption aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"205\" data-permalink=\"https:\/\/www.critical-stages.org\/16\/scenes-from-norways-heddadagene-theatre-festival\/picture5\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture5.jpg?fit=700%2C387&amp;ssl=1\" data-orig-size=\"700,387\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Picture5\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Suli Holum as Nora and Leonard C. Haas as Helmer in A Doll\u2019s House. Photo by Knut Bry&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture5.jpg?fit=700%2C387&amp;ssl=1\" class=\"size-full wp-image-205\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture5.jpg?resize=700%2C387&#038;ssl=1\" alt=\"\" width=\"700\" height=\"387\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture5.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture5.jpg?resize=300%2C166&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption id=\"caption-attachment-205\" class=\"wp-caption-text\">Suli Holum as Nora and Leonard C. Haas as Helmer in <em>A Doll\u2019s House<\/em>. Photo by Knut Bry<\/figcaption><\/figure>\n<p>A post-box which is being moved by the actors during the performance; a cabin on the right also used as Torvald\u2019s office; and, on the left, Dr. Rank\u2019s home where he drinks. In front of the house, there is a dangling light which signals Nora\u2019s private space. We see Nora there reading Krogstad\u2019s letter or telling her secret to Linde.<\/p>\n<figure id=\"attachment_206\" aria-describedby=\"caption-attachment-206\" style=\"width: 700px\" class=\"wp-caption aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"206\" data-permalink=\"https:\/\/www.critical-stages.org\/16\/scenes-from-norways-heddadagene-theatre-festival\/picture6\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture6.jpg?fit=700%2C464&amp;ssl=1\" data-orig-size=\"700,464\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Picture6\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Suli Holum as Nora and Mary Lee Bednarek as Linde in A Doll\u2019s House, June 2017. Photo by Knut Bry&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture6.jpg?fit=700%2C464&amp;ssl=1\" class=\"size-full wp-image-206\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture6.jpg?resize=700%2C464&#038;ssl=1\" alt=\"\" width=\"700\" height=\"464\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture6.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture6.jpg?resize=300%2C199&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption id=\"caption-attachment-206\" class=\"wp-caption-text\">Suli Holum as Nora and Mary Lee Bednarek as Linde in <em>A Doll\u2019s House<\/em>, June 2017. Photo by Knut Bry<\/figcaption><\/figure>\n<p>What captures me most is how Norwegian theatre approaches and transforms the family drama, which is also the hallmark of its traditional dramatic writing. It is worth asking how modern Norwegian family life coincides with classic and modern family dramas. Despite the peace in Oslo\u2019s streets and happy family tableaus with large, beautiful gardens, what can be the source of uneasiness and psychotic features prevailing on the Norwegian stage? What lies behind it can surely be best explained by sociology. But, for the critics, it may be interesting, in this regard, to see all the innermost feelings on the stage as a symptomatic expression of Norwegian society, or to read how the stage hides the social and inner context in its very theatrical form, if this is not an over-interpretation.<a name=\"end\"><\/a><\/p>\n<hr \/>\n<p><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"200\" data-permalink=\"https:\/\/www.critical-stages.org\/16\/scenes-from-norways-heddadagene-theatre-festival\/ejder\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Ejder.jpg?fit=400%2C260&amp;ssl=1\" data-orig-size=\"400,260\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Ejder\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Ejder.jpg?fit=400%2C260&amp;ssl=1\" class=\"alignnone size-thumbnail wp-image-200\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Ejder.jpg?resize=150%2C150&#038;ssl=1\" alt=\"\" width=\"150\" height=\"150\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Ejder.jpg?resize=150%2C150&amp;ssl=1 150w, https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Ejder.jpg?resize=230%2C230&amp;ssl=1 230w, https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Ejder.jpg?zoom=2&amp;resize=150%2C150&amp;ssl=1 300w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/p>\n<p><a name=\"end\"><\/a>*<strong>Eylem Ejder<\/strong> is a Ph.D. candidate in the Department of Theatre at Ankara University, Turkey. She is a member of International Association of Theatre Critics \u2013 Turkey Section and a member of the editorial board of the journal <em>Oyun<\/em> (<em>Play<\/em>). She studies theatricality, contemporary Turkish theatre, Ibsen\u2019s dramas and modern dramatic theory. Her Ph.D. studies are being supported by The Scientific and Technological Research Council of Turkey (TUBITAK) within the National Ph.D. Fellowship Programme.<\/p>\n<p style=\"text-align: center; font-size: 14px;\">Copyright <strong>\u00a9<\/strong> 2017 Eylem Ejder<br \/>\n<em>Critical Stages\/Sc\u00e8nes critiques<\/em> e-ISSN: 2409-7411<\/p>\n<p style=\"text-align: center;\"><a href=\"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/\" target=\"_blank\" rel=\"noopener\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/wp-content\/uploads\/2021\/03\/88x31.png?resize=88%2C31&#038;ssl=1\" alt=\"\" width=\"88\" height=\"31\" \/><\/a><\/p>\n<p style=\"text-align: center; font-size: 14px;\">This work is licensed under the<br \/>\nCreative Commons Attribution International License CC BY-NC-ND 4.0.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Eylem Ejder* HEDDADAGENE Theatre Festival, organized by twenty-nine Norwegian theatre companies under the festival director \u00c5slaug L\u00f8seth Magnusson in Oslo, Norway. June 9-18, 2017. Norway has an annual national theatre festival called Heddadagene (Hedda Days), gathering theatre companies from all<\/p>\n","protected":false},"author":1,"featured_media":202,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[3],"tags":[30],"class_list":["post-199","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-performance-reviews","tag-by-eylem-ejder","","tg-column-two"],"jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9iUM2-3d","jetpack_likes_enabled":false,"jetpack-related-posts":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/10\/Picture2.jpg?fit=700%2C391&ssl=1","_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/posts\/199","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/comments?post=199"}],"version-history":[{"count":1,"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/posts\/199\/revisions"}],"predecessor-version":[{"id":1381,"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/posts\/199\/revisions\/1381"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/media\/202"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/media?parent=199"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/categories?post=199"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/tags?post=199"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}