The National Ballet of Norway performs extracts from parts of the writer in the rooms of the Parisian museum, which presents works by his compatriot.
by Rosita BOISSEAU (OSLO)
The bay windows of the studios of the Oslo Oslo opera open on the fjord and the massive facade of the brand new Munch museum. Impossible for dancers to forget this magnetic figure of Norwegian art. And when the rehearsal shows are choreographic adaptations of Henrik Ibsen, staged by Marit Moum Enane for the National Ballet of Norway, as much to say that the performers are quickly caught up in the dark silhouettes of Munch, his too pale women, her Leglass zebraures. “When you started working on Hedda Gabler, I saw Munch everywhere,” said soloist Silas Henriksen. He was very inspired by Ibsen, but just by wandering me in the streets of Oslo, the lights, the houses , people made me think of him and helped me build my character. “
If we meet Ibsen and Munch everywhere in Oslo, from the big coffee, which keeps the place of the writer warm, to the cemetery, where the steles seem to communicate remotely, they are cohabiting in the museum of ‘Orsay, in Paris. The two behemoths, ambassadors abroad of this small country of 5 million inhabitants that are Norway, are there on November 22 and 23. As part of the Edvard Munch exhibition. A poem of life, of love and death, the institution welcomes under its nave the Norwegian troupe in a series of extracts from pieces entitled family portraits, inspired by three works by Ibsen: Ghosts, Hedda Gabler and Le Canard SAUVAGE.
that this rapprochement between phenomena whose works give goosebumps. With a right hand, the analyst of the intimate secrets which raises the cover of the family pot and that explodes; On the left, the painter of dread, loneliness … Between the two, the same passion for self -truth, the fight of the unconscious and emotional capsize. Admirer of Ibsen, Munch, who bathed from childhood in the universe of Ibsen, produced nearly 350 works under the influence of the author, including a portrait and a sketch for a decor of Ghosts are notably visible in Orsay.
Ultraphysical writing
Slide from the gesture danced to the pictorial line releases a horizon of sharp visions. “They are our most radical artists,” says Marit Moum Enne. They both participated in the construction of Norwegian identity and democracy until our independence with Sweden, in 1905. These are revolutionaries, feminists before the time, very realistic, who, despite their age difference, asked the same questions on which humans we are and without fear of sending us their fists in the figure. “
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