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Andreas T Olsson: We have no more darkness in us than the other

Thursday. Lunchtime. I will be I be asked to participate in the TV4 and comment on the events at the royal dramatic theatre. I had to say no because I rehearse at the Opera house as well as day, evening, but just before my kvällsrepetition I see the element. It does not take many minutes before the heart sits in your throat.

Where is Elsa Westerstad, SvD Culture's idea - and debattredaktör, and analyses; she says certainly that it is a worrying situation, that the male geniuses, to some extent, on the way out, but – and it is now she says it – ”teateryrket is not just any profession at any time. It should be borne in mind. I do not think that you become an actor if you do not have a certain darkness within himself”.

she Said...?

Yes.

she did.

And look! She develops her reasoning. Explains that there's a necessary darkness can take the form of ”violent behavior” and that it is ”terrible for those who work there”. But! And she is using the coordinating conjunction 'but' to restate, ”but you can't see it as a profession.

the teen again. When I was in Uddevalla and dreamed of the Theatre, becoming an actor. But no. It could probably not be when you come from my circumstances. I had such a boring and secure childhood. No immediate blacks to draw from. For it would have. I had understood through the interviews with the actor. It was down at the bottom as the real art was possible to achieve and exploit. In fury and anger. But I couldn't help but to keep on with the theatre in any case. Of pure joy.

You can certainly see it as a profession. Time. Everything else is a lie, and romantic grand illusions that have nothing to do with reality,

And finally got the urge so great that I was forced to go to drama school even though I passed 30. For along my winding road I realized that the stereotype of the suffering artists don't have anything to do with reality. And it is actually in reality as we actors work. We wake up in reality. Eat breakfast in the reality. Follow our children to school in the real world. Walk to work in the real world. Talking about the weather and the world situation with Ulla in the reception in reality. Rehearsing our roles in the real world. Play theatre of reality. Going to bed in reality.

Yes.

We are the actors.

But if we not been there we would have been taxi drivers, opticians or the undertakers. We have a profession. It may seem a little particular, here we do it facing the audience, but it makes the idea - and debattredaktörer also.

see it as a profession. Time. Everything else is a lie, and romantic grand illusions that have nothing to do with reality. And it is only in the reality of who we really are. I will be sad when Westerstad business out to not being ”an actor if you do not have a certain darkness within himself”. It is stupid, infamously and unkind. It is just the opposite. You can't be an actor if you do not carry a certain amount of light.

In ”the Ballad of brödupproret” writes Kent Andersson:

”There is not darkness, my daughter,

darkness is the stolen light.

Steals squeezing'n the light away from you,

so break into his house.”

, between the rope at the Opera, I sit in the repsal 1 at the royal dramatic theatre, with almost 80 actors. There is emergency meeting. But strictly it is not we who are in crisis. We sit there as a warm, albeit dejectedly collective and stare into the management åskgrå faces which reveals the apathetic inability. I may, however, force by to see all of my amazing colleagues, that really is the royal dramatic theatre in stockholm, and despite all the shimmers in the darkness where we become hostages. Darkness is the stolen light. We are on the inside and burn on the fast that it draws the cold.

We light candles for Josefin Nilsson.

We carry the light.

Together is the only way to be.

We are passionate about a form of equality that make a real difference. That is not, and ponds in the recently updated action plan.

That safety in the workplace would not be the most important prerequisite for the creation of art is rude

In ancient Greece is said to the philosopher Diogenes have gone around with a lantern, held it up in front of the passers-by and said, ”I am looking for a man”. We are all of the Diogenes, in the faith of the light power and on the ratio of people of flesh and blood who are not afraid to reflect on their own reflective and to its senses.

as we can see pictures of on the website. In truth, a beautiful bouquet, but beyond ögonfägnaden we are looking for people. Who wants to listen and observe what the lantern's light falls on. Where is our chairman of the board Ulrika Årehed Kågström, who does a brilliant job as the Swedish Cancer society's secretary general? Where is Eva Hamilton, in conjunction with the #tystnadtagning charitable thundered about the ”cowardly and otillräkneliga teaterdirektörer”? Tasso Stafilidis? Sara Danius? A board playing hide and seek is devastating. There are depressing examples of from another theater.

Back to the oracle Westerstad. On the issue of working may be left is her undeniable allure, ”I like it, but it does not like skådisarna at the royal dramatic theatre so clear [...] they believe that he's putting the artistic ahead of the safety of the workplace”.

the actors, or ”skådisarna” as she is familiarly want to call it the royal patrasket. As if it were only we who worked at the royal dramatic theatre. The royal dramatic theatre is a great and wonderful place of work, with about 350 people with a wide range of professions. To isolate the royal dramatic theater to be just about the actors are ignorant. And that safety in the workplace would not be the most important prerequisite for the creation of art is rude.

the Black-out called it at the theatre when it gets very dark between the two scenes.

The one scene ends and before you know it, another scene start.

It becomes totally black.

the Black-out.

And in the compact darkness, invisible to the eye, dressed in black stagehand in order to dismantle a world and create another.

a Few milliseconds later becomes dark. A beam of light vibrating and widening.

A new world opens up.

the Next scene.

Andreas T Olsson is an actor and has worked at the royal dramatic theatre since 2013, where he is included in the fixed ensemble.

Read more Julia Dufvenius: ”I got the protection to and from the stage at the royal dramatic theatre”

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