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REVIEW OF “I, HÄNDEL” AT STAMSUND INTERNATIONAL THEATRE FESTIVAL, STAMSUND

The Norwegian paper Klassekampen wrote an article about this years festival in Stamsund. “I, Händel” got positive review and high lightened as one of the festivals main performances, with the heading “Kunstens egne blikk” (only in Norwegian):

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REVIEW OF “I, HÄNDEL” AT TEATER FÅR302, COPENHAGEN

by Michael Svennevig (excerpts in english)

“What the hell is going on?
I sat down on the first row of the really small theater Teater Får302 in Toldbogade at Nyhavn. There was a stench without equal, thinking instinctively that I can not stand it. Should I go, keep my nose or just breathe through my mouth? But you can get used to much, cause just 10 minutes later I had forgotten all about it – or at least come to terms with it. Maybe because what was happening on stage was so transboundary. It was a smooth transition from fascination to revulsion, from life to death, and from hate to love. Sometimes overlapping – like the whole performance “I, Handel”.”

“It’s disgusting. It is FANTASTIC disgusting, but I also sat nailed to my seat while the story of the great composer’s meeting with the first castrato was told in all its wonderful horror. We are spared nothing. There are no sensations. Or rather, there are a lots of sensations, for they are the ones that make it grotesque. Yes, vulgar and bizarre.”

For the full review (in danish) visit Svennevigs blog: www.msvennevig.blogspot.no

 

CARL MICHAEL EDENBORGS REVIEW OF “I, HÄNDEL”

Article taken from Edenborgs own website: www.cmedenborg.blogspot.de

“This Friday, I attented the premiere of “Jag, Händel: Mitt grymma öde” (I, Händel: My Cruel Fate) at Atalante in Gothenburg.

It took some time to process the overwhelming impressions of this one-hour performance, but late last night I realized this must be described as one of the largest experiences of my life.

The brave director/choreographer Henriette Pedersen has created an intense interpretation of the text. “Jag, Händel” is an astonishing, total work created from sound, light, scenography, costume and not the least strong smells (rotten shrimps, fox-piss!).

In the centre stands the actor Cajsa-Stina Forssberg. Alone on the big stage, she dominates the room with her expressive face, motions, and voice: embodying the unredeemed ambivalences that I wanted to show in the narcissistic, hurting, megalomaniac and scared main character of my novel.

It was a sold-out house, and the big audience seemed enchanted by Cajsa-Stinas magic: laughing at the grotesque, crying over the sadness, shivering from the violence of Händel’s mind, exploding through her artistic volcanoe.

Mikael Löfgren wrote a very positive review of the performance in Dagens Nyheter:

“I, Händel is based on a series of stories. They are well written and catch the audience’s attention from the start. — As much as with words, the performance narrates through light and sound. It’s a complete multimedia work. In the same way, Caisa-Stina Forssberg uses all of herself in her interpretation. She throws away her whig and costume, she distorts her face and voice, she drags herself through her own sperm. But furthermost, she manages the small gestures: by just a change in tone or look, she gives the line a new meaning. Or she makes a movement with her hand or an exactly located pause and thereby highlights the comical in the baroque.”

Link to the whole article: www.cmedenborg.blogspot.de

 

“I, HÄNDEL” AT ATLANTE IN GOTHENBURG:
(article by Mikael Löfgren from Dagens Nyheter, in swedish)

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DJURISK OM HÄNDEL. UNDERSKÖN MUSIK MED KOMIK MITT I DET BAROCKA
av Mikael Löfgren, Dagens Nyheter

“Det är en händelse som kanske bara är ett sammanträffande: helgen före finalen i Melodifestivalen har ”Jag, Händel” premiär på Atalante i Göteborg. Scenföreställningen bygger på Carl-Michael Edenborgs roman ”Mitt grymma öde” (2012), en historisk fantasi över den tyske kompositören Georg Friedrich Händels liv (1685–1759). Händel, ”barockens store hitmakare” (programbladet), dyrkades som en gud av beundrare över hela Europa. Föreställningen kontrasterar den undersköna musiken, som arian ”Lascia che´io Pianga” (i Cecilia Bartolis tolkning), med scener av djurisk sexualitet. Själv var Händel – åtminstone enligt Edenborg – fascinerad av tidens superdivor, de italienska kastraterna. De hjälpte honom att till sig själv ställa frågan var han befann sig i det mänskliga territoriet mellan manligt och kvinnligt, gudomligt och djuriskt.

Rollen som Händel spelas av Caisa-Stina Forssberg. Dekoren består av en hängande teaterridå, som till en början tycks vara en del av hennes utstyrsel. I det svaga ljuset mer anar än ser publiken hur hon kryper ur draperierna likt ur en kokong. En fjäril? Ja, eller en dyngbagge eller någon annan insekt som inte skyr kroppens utsöndringar. Den timslånga föreställningen kan beskrivas som ett gradvis avslöjande. Också bokstavligt: när Forssberg lämnar scenen gör hon det utan en tråd på kroppen.”

Link to the whole article here.

 

A PREVIEW OF OUR NEW PERFORMANCE “I, HÄNDEL”:
(Article by Elinor Ahlborn from SVT, in swedish)

“I höst blir Carl-Michael Edenborgs debutroman teater. Huvudrollen som den historiska operakompositören George Friedrich Händel går till Cajsa-Stina Forsberg.

Den historiska barocktonsättaren Georg Friedrich Händel dog 1759. Då lämnade han bland annat 42 operor, 29 oratorier, över 120 kantater, och en mängd orgelkonserter och kammarmusik till eftervärlden.

Hans verk har haft stort inflytande på efterkommande kompositörer.

Författaren, förläggaren och idéhistorikern Carl-Michael Edenborgs debutroman ”Mitt grymma öde” som kom ut 2012 handlar om Händels liv – och kompositörens förhållande till de skönsjungande fattiga gossar som kastrerades under 1600- och 1700-talen, för att deras målbrott skulle avstyras och pojkröster bevaras.”

Link to the whole article here: SVTomtaleHändel

 

RIDING ROMANCE TRILOGY:

“Das Nebelmeer – Riding Romance 2″ – review of the publication

“Can a book be a part of a performative expression? Venke Sortland read “Riding Romance 2 – Das Nebelmeer” – the textual responses to Henriette Pedersen’s performance trilogy of the same name. The book was launched at Oktoberdans in Bergen 19th of October 2014.”

“Kjedereaksjoner” av Venke Marie Sortland – Scenekunst.no
(article from scenekunst.no, in norwegian)

 

“Das Nebelmeer – Riding Romance 2″

“Tåkehavets Ryttere” av Venke Marie Sortland – Scenekunst.no 
(article in norwegian)

Experimentation, testing and blasting of borders seems to be an important aspect in “Das Nebelmeer”, both in terms of form, space and thematic focus. One characteristic of romanticism was precisely to transcend rules, structures and forms. It was the artist who created the rule, through his brilliant artwork. Although Pedersen and her group of artists are not doing something entirely new, they are still pushing the boundaries of so many of the performing arts “traditional” parameters that I’m not sure the term performing arts are adequate for their project. “Das Nebelmeer” creates its own genre.

 

“Swan Lake – Riding Romance 1″

“Stygg andunge eller vakker svane” –  Scenekunst.no

Radio Nova – 01.02.12

“Svaneaktig bra” – VG 03.02.12

Shakespeare Tidskriftet, 12.04.12:

ANIMAL MAGNETISM TRILOGY:

Sveriges Radio P4 (Swedish radio in Gothenburg (29.03.2011)

Dance.no: Interview with dancer Kristine Karåla Øren about Animal Magnetism. (29.11.2010)

ArtSceneTrondheim, during the Bastard festival (29.09.10): Merci! Merde! Salut!

Adresseavisen, Trondheim, during the Bastard festival (25.09.10)

Radiorakel, 14th December 2009.

THE PROBLEM HAS NO NAME:

Underholdende menneskedyr, Bergens Tidene 18.10.2007

Heier på annerledesheten, Bergens Tidene 10.10.2007

Festgalskap og forvirring, Studvest_17.10.2007

Review TheProblemHasNoName,  Review2TheProblemHasNoName

 

HAMBURGER ALLEE:

ReviewHamburgerAlle1

ReviewHamburgerAllee2

ReviewHamburgerAllee3

BLIND BEGJÆR: