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Out point is the time and family happiness

"Out of the led is the time and family happiness" "Amelie Björck see good game in the Beast at the royal dramatic theatre" "Time is playing the lead rol

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Out point is the time and family happiness
"Out of the led is the time and family happiness"

"Amelie Björck see good game in the Beast at the royal dramatic theatre"

"Time is playing the lead role in the Lolo Ambles sympathetic one Beast. To play up vivid memories is, in itself, nothing unusual teatergrepp – but here is tidsflagorna almost modernist detached (Proust, Woolf)."

"Somewhere, it is the story of a family we follow but nothing now is more steady at present than anything else and Amble skevar deliberately mosaikens parts so that they almost fit together. As if there is a family, and several of the parallel universes."

"In the first scene, we meet a mother and an adult daughter on a visit. The game is so nicely between Melinda Kinnaman, impatient and patient towards her mother, and Kristina Törnqvist as flutter, suit up and fingers on the cuffs. She has a crazy passion in the body, each pose shows it – it is directed against the daughter, but more than that against the absent fadernu002Fmannen that the daughter come to the town to search. He left the family."

"you the open stage room with spare equipment that indicates the home, the cinema and the park unfolds the life, then, now and in the future, with no definite order. We see her meeting with the father, the parents ' first flirt, the daughter's timid touch with Eric stern's ”the Guy” that anyone would want to curl up with in order to fill otrygghetshålen. We see the father in sickbed and the mother's alienation of the family when they were three. The banal crackles and deepens in vardagssurrealistiska dialogues."

"Harold Pinter once wrote a play, Betrayal, which presented a relationsförlopp backwards. Our ingrained sense of cause and effect is disrupted quickly when tidsordningen we take for granted snatched up. In one of the scenes in the Beast portrayed her almost violent ties to the father. She is small – Kinnaman ”playing” not the children but the situation says it all: she doesn't let his dad go to the bathroom. He must watch her, he must keep her hands, otherwise, it will anxiety with its sharp claws. Magnus Ehrner as the father walks her to the meeting for a long time but frees itself to the end, he will have to pee."

"Is this a giveaway of the actual separation that is to come? Or is it only when he actually disappear out of her life as this particular memory, among a myriad of possible, are highlighted and become important?"

"it's nice how Gunilla Nyroos seemingly simple and sedate director manages to create room for as much reflection. The end comes a bit abruptly, but the feeling of contact with the concerning soft and hard, the longing and the cramp in our relationships linger. How we can never really be separated when the bonds existed. How we carry them forward and at the same time can be alien next to beyond recognition as time goes by."

"production Design: Gabriella Dinnetz"

"In roles: Magnus Ehrner, Melinda Kinnaman, Eric Stern, Kristina Törnqvist"

"Scene: the royal dramatic theatre, Målarsalen"

"running time: 1 hr 30 min"

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