(THIS ARTICLE IS ONLY MACHINE TRANSLATED by Google from Norwegian)
In the essay The theater tomorrow (1966) is Jens Bjørneboe quite clear on what should be important theater. I meet his daughter, Therese Bjørneboe, who has run the Norwegian Shakespeare magazine for over 20 years, to discuss her father's opinions and the importance of theater.
In the essay in the 60s and elsewhere, Jens Bjørneboe first writes what tomorrow's theater is not was to become when "the dynasty 'Civil Drama' in the succession Hebbel-Ibsen-Strindberg-O'Neill is abdicated". Most of the drama and literature was obsolete after the atomic bombing of Hiroshima and Nagasaki, ripe for museums. Their "naturalistic psychology" of bourgeois privacy would be of primary importance "to old ladies." According to Bjørneboe, the theaters' gender struggle and family life provoked an involuntary comedy as long as nuclear weapons were rattled on the big political stage. Soul agony, longing and loneliness could no longer be taken seriously.
Therese believes that her father's language is characterized by time and place: “But it is the artist's privilege to speak out, because in a way. . .
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