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Scenrecension: Frida Uhl krackelerar on Strindberg's theatre

the Scene at Strindberg's Intimate Theatre has been scraped bar. As for that for a while, rid itself of the ballast after the male genius whose name it bears. The headlights are instead targeted to Frida Uhl, an austrian author, critic, translator, etc., and the genius in question, the second wife.

almost exactly a year ago, donned Anna Wallander the role of Siri von Essen, Strindberg's first wife, on the same stage. Behind every successful man is known as a pissed off/burnt out/snorbegåvad woman.

Hanna Nygård, who also wrote the play together with the director and working Anna Pettersson. With grandiose poses signalerandes sassy esprit and an almost rushed pace about she the uhl's impressive biography. From language and writing to the subversive driving force.

Until the entry of a woman as storvulen, självuppfylld and eldfängd ever her megalomane husband. The meeting with him is also the turning point.

In the exposition of childbirth, lack of money and incessantly curlande of it as svavelosande as self-pitying mansbarnet Strindberg lets Nygårds Uhl crack in front of us. With the escalating tics that eventually distorting her whole body in spasms, she creates a striking image of the patriarchate effects.

Pettersson lets Frida Uhl become a mouthpiece for a deal even with the contemporary teatersverige is not surprising. Both today's male geniuses as usual predictable aesthetic expression ends up in the hot air.

as regards the latter there had been a point to obey their own call. This kind of biographically-based monologues belongs to the hardly strictly most innovative. How intense Nygårds than trying to listen to the constant illuminated the audience.

Most appetite, raises instead the ironic underdrifterna, small charitable pinprick, which together threaten to shatter the patriarchy bubble.

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