First a confession – I was convinced that the american playwright Tennessee Williams belonged to the past. After having seen ”Orpheus descending” and ”Line Lust” at the royal dramatic theatre in winter I am not as sure anymore. On the Generator was the director Runar Hodne show how naturally the ancient Orfeusmyten allow themselves to be transformed into a mournful ballad with a blues – and countrykänsla. At the royal Dramatic theatre’s small stage is Stefan Larsson, who accomplishes a small miracle of Tennesse Williams ‘ most famous play.
There were more in Marlon Brando’s sweaty t-shirt than you did.
Also in the ”Line Lust” is ”descend”. Blanche DuBois is a Miss Julie who falls when she leaves the childhood home and turns up at her sister Stella in the French quarter of New Orleans. Stella is married to Stanley Kowalski and waiting children. Everyone who has seen Vivien Leigh’s Blanche and Brando as Stanley in the Elia Kazan’s famous film from 1951, to know how close this drama is a post-war skådespelarideal, what goes under the name of method acting.
Perhaps it has contributed to the feeling of Tennessee Williams’s term, forever associated with booze, sex and anxiety, a kind of awkward romance in the vision of man as a reptile. There are plenty of animal symbols in these plays, and with a ormskinnsjacka.
Beyond sydstatsromantiken turns out the ”Line Lust” to be a mercilessly realistic depiction of what we are daily reading about that men’s violence against women.
have found a topical entrance to a modern classic that fills a gap between Eugene O’neill and Edward Albee. Beyond sydstatsromantiken turns out the ”Line Lust” to be a mercilessly realistic depiction of what we are daily reading about that men’s violence against women. Danilo Bejarano don’t need Marlon Brando’s muscles to convince that Stella’s captors. It is enough with his childish, a three year old that screams and turns around when he doesn’t get exactly who he wants, the wild bebin before he passed myndighetsexamen (though it makes the men on the other hand, rarely).
Shanti Roney, Livia Millhagen, Rebecka Hemse, Danilo Bejarano and Alexander Salzberger. Photo: Sören Vilks
I don’t know if it is Elia Kazan’s masterpiece that scored Larsson to get stuck for a technology with filmed scenes projected onto a large screen to the left near the ramp, high enough that as far as I understand be seen throughout the salon. It turns out to be a brilliant idea. The grip has been fashion the past 20 years, often with meager results. It works here because the camera creates both closeness and distance to the action on the stage. I suspect that it has helped the ensemble to master some of the psykodramats easy aging conditions.
don’t risk to end up in the periphery when the discreet camera will find her curled up in bed, prepared to forgive his tormentor. Now we get to see her both in full figure and in close up, in doubt, wondering, looking to the side, directed towards us. It is not possible to turn a blind eye to what she was experiencing. We are there.
Sven Handrail design is distributed on three areas sparsely grouped on the floor. They imagine Stella and Stanley’s cramped apartment on a street with rowdy neighbors, and sailors, asking for directions to the nearest brothel. The camera looks into the room and moves over the head a time so quietly and smoothly between the outside and inside that you start to believe in the holy spirit, an invisible being who, like marionettmästaren hold all the strings.
This makes Blanche entrance through a narrow corridor, filmed at a distance, trailing on her suitcase, and soon to be fully visible in the cap and a modern jacket. Forget about Vivien Leighs aristocratic and porslinsspröda livslögnerska. Livia Millhagen is the consummate förvandlingsskådespelerskan. Seemingly normal despite the nervous breakdown she by his own admission has left behind. Even an English teacher can go into the wall.
Williams has learned from both Ibsen and Strindberg. The use of symbols in the one case, and a feel for the theatre’s raw power in the other. Blanche is certainly a livslögnerska that would make even Ibsen to fade – she locked up to the end of the year. Livia Millhagen find something else and much more interesting in the figure, a play with both yourself and others that keeps alive in her design in the metamorphoses remains before she step into the role of complete crazy.
Crazy or not crazy? Livia Millhagen keeps us in heart-stopping excitement. There is a continuously engrossing interpretation of one of the best Dramatenföreställningarna in several years.
Even here, the camera is a documentary means we can närstudera how she switches between sudden laughter and numb surprise. On the one hand, fond, on the other side of the fin in the edge. Her tête-a-tête with Shanti Roney in the role of the shy and försiktige Mitch bidding on a breeze komedispel. The face of Stanley’s unabashedly exposed beer belly and other provocations remain she unaffected, as if she were standing over the kind of sandlådebeteende. So he gets one of his vansinnesutbrott, dragging her into the bedroom and rape her in front of the rolling camera.
Crazy or not crazy? Livia Millhagen keeps us in heart-stopping excitement. There is a continuously engrossing interpretation of one of the best Dramatenföreställningarna in several years. Fixed a beating like the artificial slutvinjetten, guaranteed excess in a bodily drama which speaks plain English about male violence, and the equal of the male fear of being abandoned.
