{"id":380,"date":"2019-05-27T15:24:53","date_gmt":"2019-05-27T15:24:53","guid":{"rendered":"https:\/\/www.critical-stages.org\/19\/?p=380"},"modified":"2022-02-06T20:04:46","modified_gmt":"2022-02-06T20:04:46","slug":"bleeding-heads-and-bodies-in-finland","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/19\/bleeding-heads-and-bodies-in-finland\/","title":{"rendered":"Bleeding Heads and Bodies in Finland"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\"><strong>Matti Linnavuori<\/strong><a href=\"#end\" name=\"back\">*<\/a><\/p>\n\n\n\n<p class=\"has-light-green-cyan-background-color has-background wp-block-paragraph\"><strong><em>Harriet<\/em>, written and directed by Milja Sarkola. Set design: Kaisa Rasila; costume design: Riitta R\u00f6pelinen; lighting design: Ville M\u00e4kel\u00e4; sound design: Jussi K\u00e4rkk\u00e4inen. Premi\u00e8re at Ryhm\u00e4teatteri, Helsinki, Finland, February 13, 2019.<br><em>Medusan huone<\/em> (<em>Medusa\u2019s Room<\/em>), written and directed by Saara Turunen. Set design: Milja Aho; lighting design: Ada Halonen; costume design: Suvi Matinaro; sound design: Tuuli Kytt\u00e4l\u00e4; choreography: Janina Rajakangas; make up design: Emilia Kawamura. Premi\u00e8re at Q-teatteri, Helsinki, Finland, February 21, 2019.<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Fortysomething female auteurs are very much the fashion in Finland\u2019s theatre. For their context please read Hanna Helavuori\u2019s <a rel=\"noreferrer noopener\" aria-label=\"National Report (opens in a new tab)\" href=\"https:\/\/www.critical-stages.org\/18\/contemporary-finnish-theatre-disruption-and-expanding-fields\/\" target=\"_blank\">National Report<\/a>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Harriet<\/em> by Milja Sarkola (born 1975) at Ryhm\u00e4teatteri in Helsinki shows fifteen versions of a true story: Sarkola\u2019s maternal great-grandmother Harriet Thesleff\u2019s involvement in the death of Major Lagus on April 20, 1918. Finland had gained her independence only a few months earlier.<\/p>\n\n\n\n<h6 class=\"wp-block-heading\" id=\"video-1\">Video\n1<\/h6>\n\n\n\n<div align=\"center\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/to3I5Nx5Njw?rel=0\" width=\"700\" height=\"393\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" style=\"margin-bottom: 20px\"><\/iframe><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Mrs Thesleff was a nurse in Major Lagus\u2019s battalion during the Finnish Civil War, but was she obsessively in love with him, or he with her? With visiting Major Gadolin they went for a ride, Gadolin on horseback, Harriet and Lagus in a chaise. Did the men fight a duel over Harriet on the forest road? Did Lagus (Pyry Nikkil\u00e4) commit suicide, or was the fatal shot to his head an accident? Was it she who pulled the trigger? Were they ambushed by the Reds?<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"466\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/turunharriet-photo-9.jpg?resize=700%2C466&#038;ssl=1\" alt=\"\" class=\"wp-image-482\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/turunharriet-photo-9.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/turunharriet-photo-9.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption>Does Gadolin (Robin Svartstr\u00f6m on horseback) hear what Lagus (Pyry Nikkil\u00e4,\nleft) and Harriet (Roosa S\u00f6derholm) say to each other? Will Gadolin intervene? Photo: Mitro H\u00e4rk\u00f6nen<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">In subsequent days and months, Harriet (Roosa S\u00f6derholm) and Gadolin\n(Robin Svartstr\u00f6m) gave several differing accounts of what had happened.\nFurther interpretations have been published by historians and novelists to the\npresent day; the undying interest is because officers trained clandestinely in\nGermany formed the backbone of Finland\u2019s army.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Harriet <\/em>shows the versions in a non-partisan way. Historical truth is elusive, but the consequences of historical events make themselves felt. The burden of guilt seeps into characters; for once, the characters in a historical play do not behave as we, from our time, think they should have. Instead, the choices that were available at the time are respected. The production focuses on individuals; it is up to the spectator to wonder whether the foundation of national self-understanding(s) is based on cover-ups.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"466\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/turunharriet-photo-10.jpg?resize=700%2C466&#038;ssl=1\" alt=\"\" class=\"wp-image-483\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/turunharriet-photo-10.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/turunharriet-photo-10.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption>The doors open to reveal Lagus (Pyry Nikkil\u00e4) on the ground with Harriet (Roosa S\u00f6derholm) and Gadolin (Robin Svartstr\u00f6m). Did they (not) see him fall? Photo: Mitro H\u00e4rk\u00f6nen<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">The actors establish the epoch at the beginning, with a few gallant\ngestures. The narrator, old Harriet (Minna Suuronen), opens the white doors of\na bourgeois apartment for each episode to reveal itself. A secret cannot be\nconfined to a chamber. The matter-of-fact acting gives way to exaggeration only\nwhen a version from a 2016 novel is depicted\u2014to me, the acting style suggests\nthat this is the least reliable of the stories.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"466\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/turunharriet-photo-11.jpg?resize=700%2C466&#038;ssl=1\" alt=\"\" class=\"wp-image-484\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/turunharriet-photo-11.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/turunharriet-photo-11.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption>Before the fatal event Lagus (Pyry Nikkil\u00e4, left) treated Harriet (Roosa\nS\u00f6derholm) and his fellow officers (Santtu Karvonen and Robin Svartstr\u00f6m) to coffee and cognac, but just how much did they drink? Photo: Mitro H\u00e4rk\u00f6nen<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">The officers\u2019 code of chivalry prevailed for generations, till the\n1980s. Only then did male historians put the blame on Harriet\u2019s sexual\nadventurousness. This view seems now to be giving way to acknowledging a\nwoman\u2019s right to seek her true self.<\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\">***<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Saara Turunen (born 1982) directs the premi\u00e8res of her plays. At Q Theatre in Helsinki her latest, <em>Medusan huone<\/em> (<em>Medusa\u2019s Room<\/em>) rewrites and reverses the ancient Greek myth of Medusa. The title pays additional homage to Virginia Woolf\u2019s <em>A Room of One\u2019s Own<\/em> (1929).<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"303\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/PER-turunharriet-photo5.jpg?resize=700%2C303&#038;ssl=1\" alt=\"\" class=\"wp-image-385\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/PER-turunharriet-photo5.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/PER-turunharriet-photo5.jpg?resize=300%2C130&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption>The play begins. Medusa (Katja K\u00fcttner) and the shameful period. Photo: Aino Nieminen<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Turunen shows Medusa\u2019s emergence and development before she ever enters\nthe narrative of the myth. For Turunen, Medusa (Katja K\u00fcttner) becomes a woman\nin her own right, surprised and shamed by her (first?) period. Only then do the\nmale heroes, the rapists, appear in the story. The end again differs from the\nmyth: instead of being slain by yet another male hero, this Medusa becomes\nempowered and reverses the balance. To her, balance does not mean revenge, but\na gentle and genuine acceptance of a space of her own.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"466\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/PER-turunharriet-photo1.jpg?resize=700%2C466&#038;ssl=1\" alt=\"\" class=\"wp-image-381\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/PER-turunharriet-photo1.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/PER-turunharriet-photo1.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption>Ylermi Rajamaa (front) and Tommi Korpela dive into literature to revel in its sexist content. Because of her sex, Elina Knihtil\u00e4 cannot join in, despite her eagerness to do always as boys do. Photo: Aino Nieminen<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">My summary, not surprisingly, fails to convey the theatrical beauty of\nthe performance. There is very little dialogue, merely trivial efforts to\nremain non-committal. In this production, words only support and reinforce\nexisting power structures. But gestures are not to be relied on either: they\nare copied from commercial and sexist stereotypes. When a character manages to\nfind a gesture of their own, someone will hurry to frown on it, cutting the joy\nshort. It is archaic gestures which bring lasting self-realization. In this way,\nthe performance is quite physical, which is not uncommon in Finnish theatre,\nbut, here, the movement is not of the sweaty kind.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"466\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/PER-turunharriet-photo3.jpg?resize=700%2C466&#038;ssl=1\" alt=\"\" class=\"wp-image-383\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/PER-turunharriet-photo3.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/PER-turunharriet-photo3.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption>Medusa (Katja K\u00fcttner) points out her need to have a room of her own to concentrate, but the men watching (from a portable radio!\u2014a touch of the absurd) Formula One do not let Medusa\u2019s literary quote disturb their concentration. Men (L-R): Ylermi Rajamaa, Aksinja Lommi, Tommi Korpela. Photo: Aino Nieminen<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Turunen quotes H\u00e9l\u00e8ne Cixious\u2019s <em>Le Rire de la M\u00e9duse<\/em> (1975) as one of her sources. She applies Cixious\u2019s revolutionary idea that women\u2019s laughter will unbalance the established world order by its sheer unexpectedness, by its not-being-allowed. The form of the production embodies this. It is an oblique comedy, which sometimes chooses to target the almost-obvious, and at other times chooses a more layered aesthetic of expression.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"466\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/PER-turunharriet-photo8.jpg?resize=700%2C466&#038;ssl=1\" alt=\"\" class=\"wp-image-388\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/PER-turunharriet-photo8.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/PER-turunharriet-photo8.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption>After the men have had their fun with the books, it is the hen (Aksinja Lommi) who must clean up. Photo: Aino Nieminen<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">The mixing of the performers\u2019 sex is another way of questioning simple\ntruths. The five actors go through a number of costume and gender changes; for\nexample, the masculine icon of contemporary Finnish film Tommi Korpela plays\nthe role of an old woman, who empowers the raped young woman (Katja K\u00fcttner) by\ngiving her a wig made from Medusa\u2019s hair. This is not the first time Elina\nKnihtil\u00e4, Professor of Acting at the Theatre Academy since 2013, has played a\nmale role in a Turunen production. In <em>Broken\nHeart Story<\/em> (2011, also at Q Theatre), Knihtil\u00e4 was a moustachioed writer\nwho had lost his soul. Now, she is not only a middle-aged woman desperate to be\nperceived as pleasant, but also the male arbitrator in charge of humiliating\nthe raped Medusa afterwards. A hilarious detail: the moustachioed arbitrator is\na look-alike of Keke Rosberg, the first Finnish Formula One world champion\n(1982). Later on, Medusa waves Woolf\u2019s book in the air in a futile effort to\nbreak the concentration of the men watching a Formula One race on radio.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"430\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/PER-turunharriet-photo6.jpg?resize=700%2C430&#038;ssl=1\" alt=\"\" class=\"wp-image-386\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/PER-turunharriet-photo6.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/PER-turunharriet-photo6.jpg?resize=300%2C184&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption>An old woman (Tommi Korpela, left) empowers Medusa (Katja K\u00fcttner) by giving her a wig. In the original myth Medusa\u2019s hair consisted of snakes. Photo: Aino Nieminen<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">The actors also undergo changes in their status as performers; for\nexample, Aksinja Lommi graduated as a dancer. Her roles include a dashing bride\nand a hen. Ylermi Rajamaa\u2019s roles include a dancing pig who hangs women\u2019s wigs\non a clothes line.&nbsp; <\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"466\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/PER-turunharriet-photo2.jpg?resize=700%2C466&#038;ssl=1\" alt=\"\" class=\"wp-image-382\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/PER-turunharriet-photo2.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/PER-turunharriet-photo2.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption>Medusa (Katja K\u00fcttner) knocks down her persecutors (L-R: Elina Knihtil\u00e4, Aksinja Lommi, Tommi Korpela, Ylermi Rajamaa). Photo Aino Nieminen<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Three of Georgia O\u2019Keeffe\u2019s paintings are superimposed on the back wall during the performance. O\u2019Keeffe\u2019s detailed flowers have their counterpart in the visual imagery of the show. At the beginning, the young woman is ashamed of her period, which drops from inside her dress as rose petals. She hides them in a shell on a table, and, at the end she sprinkles them on her persecutors to restore and awaken them after she has knocked them out.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"400\" height=\"600\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/PER-turunharriet-photo4.jpg?resize=400%2C600&#038;ssl=1\" alt=\"\" class=\"wp-image-384\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/PER-turunharriet-photo4.jpg?w=400&amp;ssl=1 400w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/PER-turunharriet-photo4.jpg?resize=200%2C300&amp;ssl=1 200w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\" \/><figcaption>Medusa (Katja K\u00fcttner) under a shower of (menstrual) rose petals. Photo: Aino Nieminen<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Turunen\u2019s earlier work exists also in English and Spanish translations: <em>Tavallisuuden aave<\/em> (2016, <em>The Phantom of Normality<\/em>) and <em>Puputytt\u00f6<\/em> (2007, <em>The Bunny Girl<\/em>) in particular.<a name=\"end\">&nbsp;<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"140\" height=\"150\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/Matti_Linnavuori.jpg?resize=140%2C150&#038;ssl=1\" alt=\"\" class=\"wp-image-409\" alignnone=\"\">\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"end\" href=\"#back\">*<\/a><strong>Matti Linnavuori<\/strong> wrote theatre criticism between 1978 and 2013, for various newspapers and weeklies, in his native Finland. In 1985, he worked for the BBC World Service in London. Since 1998, he has presented papers at numerous IATC events. In the 2000s, he wrote for Teatra Vestnesis in Latvia. Since 1992, he has written and directed several radio plays for YLE, the Finnish Broadcasting Company, the latest in 2018. In 2016, his play\u00a0<em>Ta mig till er ledare <\/em>(<em>Take me to your leader<\/em>) ran at Lilla Teatern, in Helsinki.<\/p>\n\n\n\n<p class=\"has-text-align-center has-small-font-size wp-block-paragraph\">Copyright <strong>\u00a9<\/strong> 2019 Matti Linnavuori<br><em>Critical Stages\/Sc\u00e8nes critiques<\/em> e-ISSN: 2409-7411<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><a href=\"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/\" target=\"_blank\" rel=\"noreferrer noopener\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/wp-content\/uploads\/2021\/03\/88x31.png?w=750&#038;ssl=1\" alt=\"Creative Commons Attribution International License\"\/><\/a><\/figure><\/div>\n\n\n\n<p class=\"has-text-align-center has-small-font-size wp-block-paragraph\">This work is licensed under the<br>Creative Commons Attribution International License CC BY-NC-ND 4.0.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Matti Linnavuori* Harriet, written and directed by Milja Sarkola. Set design: Kaisa Rasila; costume design: Riitta R\u00f6pelinen; lighting design: Ville M\u00e4kel\u00e4; sound design: Jussi K\u00e4rkk\u00e4inen. Premi\u00e8re at Ryhm\u00e4teatteri, Helsinki, Finland, February 13, 2019.Medusan huone (Medusa\u2019s Room), written and directed by<\/p>\n","protected":false},"author":1,"featured_media":387,"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":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[7],"tags":[36],"class_list":["post-380","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-performance-reviews","tag-by-matti-linnavuori","","tg-column-two"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/PER-turunharriet-photo7.jpg?fit=700%2C466&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/paUXOT-68","_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/posts\/380","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/comments?post=380"}],"version-history":[{"count":7,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/posts\/380\/revisions"}],"predecessor-version":[{"id":1307,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/posts\/380\/revisions\/1307"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/media\/387"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/media?parent=380"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/categories?post=380"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/tags?post=380"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}