Abstract
In Norway, the theatrical avant-garde, 1920–1950, was oriented towards cabaret dramaturgy and symbolism. There also developed a direction of political theatre, as well as tendencies towards a more poetic-theatrical kind of theatre. Directors such as Agnes Mowinckel and Hans Jacob Nilsen were central to this development in both private and institutional theatres. A monumental realism had already established itself as a Norwegian directing style in connection with the Ibsen-tradition at Nationaltheatret, where Johanne Dybwad was a prominent figure. A major director of the avant-garde was Stein Bugge, who also wrote comedies of the grotesque kind. The article also gives examples of the cabaret culture in the arctic, exemplified by popular revues with participation from traveling directors like the Jewish Salomon Schotland. One can basically speak of a revolutionary avant-garde also, using amateur theatre like in the work of Olav Dalgard. This avant-garde would by the 1950s be followed up by dramatic writers like Tarjei Vesaas and Georg Johannessen, preparing the way for new tendencies of cabaret and laboratory theatre, like ‘Odin Teatret’, founded in Oslo in 1964. The fact that ‘Odin Teatret’ after a couple of years left Norway for Denmark, represented a temporary halt for Norwegian avant-garde until a new social oriented and performative avant-garde came about in the 1970s.
Highlights
In Norway, the theatrical avant-garde, 1920–1950, was oriented towards cabaret dramaturgy and symbolism
Directors as Agnes Mowinckel and Hans Jacob Nilsen were central to this development in both private and institutional theatres
A monumental realism had already established itself as a Norwegian directing style in connection with the Ibsen-tradition at Nationaltheatret, where Johanne Dybwad was a prominent figure
Summary
En teaterhistorisk avantgarde i Norge må sees i perspektiv av det som skjer mellom symbolismen fra 1890-årene til det sosialt engasjerte og poetisk-teatrale teater i perioden fra 1920 til 1950. Mowinckel knyttet an til intimscenebevegelsen gjennom sitt arbeide ved Det frie teater (1924), noe som var i tråd med tradisjonen fra Théâtre Libre i Paris. Under andre verdenskrig flyktet Nilsen fra det tysk-okkuperte Norge til Stockholm, hvor han var aktiv i Fri Norsk Scene.[17] Etter krigen var han direktør ved Det Norske Teatret i noen år (1946–1950), hvor han satte opp en avromantisert versjon av Henrik Ibsens Peer Gynt med teatermusikk av Harald Sæverud i 1948.18. Århundre: Helt i tråd med andre avantgarde-retninger søkte han inspirasjon fra før-borgerlige teatertradisjoner, og anså spesielt antikkens greske teater og middelalderens teaterformer som idealer.[21] Disse teaterformene representerte en erfaring av teatral totalitet hvor skuespillere og tilskuere var forente i tilhørigheten til en religiøs dimensjon. Og han var veldig inspirert av den nyskapende regissøren Max Reinhardt
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