The performance Oqaluttuaatigut// Our Stories is a collaboration and co-production between Naleraq Lights Productions( Greenland)and teater freezeProductions (Denmark). The two production companies have been working together and co-produed in all ways- economically, artistically, and organizationally, since 2019 primarily in Nuuk. Their theater pieces tour in Greenland, Denmark and internationally, with Greenlandic artists. This is their seventh production together.
Dancer and performer Maud Karlsson Lima de Faria recovers her six decades of life in a detailed stream of memories, from her grandparents owning a pom poms factory in the 60s in Sweden until the very date of each performance. Images pour out at high speed. A relentless and unsentimental succession of memories cascades one after another. This is the material for a research which renders palpable how unique and precious each human memory is and, simultenously, how insignificant on the larger cosmic picture. A constant play of zooming in and out in from the personal to the universal.
The opera is written for the acclaimed countertenor Morten Grove Frandsen, who amazes with the embodiment of a myriad of outsiders in a thoroughly dramatic universe, that takes the audience into the darkest corners of cyberspace, where misogynists, self-harmers, racists, and other marginalized existences have found an absurd community. With his extraordinary voice, Frandsen interprets the life of the girl with ‘The Fucking Ugly Face’, who cuts herself to forget her pain or the shameful boy ‘The Lamb’ who dreams of being slaughtered. The English text is based on posts from young people on social media, and it is staged as an interactive echo chamber, where the audience is part of the setting and surrounded by loudspeakers and selfie lights.
The story revolves around a couple that has gone on a holiday to a resort to fix their relationship. They begin a role play, where they pretend to be two strangers that meet in a hotel bar, but as they try out different scenarios, they slowly lose their sense of self. At the resort everything appears porous; nature and culture, identities, and relations, and past, present, and future coalesce. Small and big movements affect each other: plate tectonics and relationship dynamics, a breakup and/or the end of the world.
All That Remains is a choreographic work that blurs the boundaries of dance, installation art and sound. The performance opens up a contemplative space into an uncertain world on the verge of transformation, where hybrid sculptures of industrial waste are scattered throughout the space, like a poignant reminder of a wounded environment — how do we come together and heal in times of upheaval? How do we create new rituals, embrace our ghosts and monsters? How do we build sanctuaries in the wake of destruction? Moving from playfulness to resignation, from ecstasy to desolation, 'All That Remains' emerges as a mesmerizing journey through universes of transformation.
SightSEAing is a walking performance that opens up the gateway to the city’s nooks and crannies and their secretive residents. The audience walks in groups of no more than six people; at times the group must find its own way, while at other times it is guided. The performance has its own bodily dramaturgy, in which the poetry of the unpredictable plays an important role. The purpose of the work is to use the public space for sharing poetic encounters with strangers.
Odense Teaters anmeldersucces med Freja Klint Sandberg, som den 18-årige, gravide Maria, der leder efter nogen til at være med til fødslen af hendes barn. En forestilling om ensomhed i en digital verden.