To lose their children belong to the most terrible. Yet it is happening in the tales, and, worse still, in reality, by accidents, and in flyktingdramer. When Sara Bergmark Elfgren now written anew with the starting point from Selma Lagerlöf’s short story ”the Bortbytingen”, anas also these traumas. The 1901 was a skräckdrama with a happy ending, more slagskuggor.
Tobias Theorell set that is played up in a beautiful, but also intimidating, scenographic box that both opens and closes the check. Here are loads of sublimated emotions. The wonder of it when the farmer and his wife lost their young son when he fell out of his mother’s arms during a ride. How than spouses, then searched he remained away, rather than low, where a little goblin moran, despite the man’s protests, was unable to abandon. But how will the family come out of their grief when trollungen, he is the ugly, as the farm people believe so devilishly mischievous, constantly reminiscent of their loss?
Maria Salomaa, wife stumnar in despair but never betray the troll when Andreas Rothlin Svensson’s desperate husband just want to beat the. He is trying to drink themselves away bleeds the sweat, the booze and the pain.
And so Rasmus Luthander in leather trousers and uncomfortable long tail. His Changeling cringe away from the ambient hatred but also has his own agenda, he is a troll! Luthanders desperately avoiding the gaze makes bondmors dualism intelligible, hatred implies also protection.
deepens Bergmark Elfgren the story and pick up new characters and events. A young troll, for example, a myling as an interlocutor. Like a unique ghost question she those Bortbytingens ideas. Maia Hansson Bergqvist lace to an essence that brings to mind to the 20th century, flapper girls, cheeky spot on.
the Whole story shows how close it is between evil and good, that happy endings are an illusion, that the public attitudes can deform, to trolls and humans have much in common, and that small roles add spice, Mia benson’s nifty wise old woman.
rökomspunnen drama, sometimes it is dangerous on really with the fights and the consuming fire, I wonder still why Theorells director chosen to let as much of the text is told forward instead to be portrayed. Just the introduction, then the child is lost, how effective had it not immediately been able to suck the audience into the game if it visualiserats? ”Bortbytingen”, revised or not, is now still a somewhat forgotten saga.
Read more reviews of theatre for children and youth of Pia Huss, for example, ”because I say it,” the Young Cope.
