I´m now starting the work on the character Vincento in Shakespeares Measure for Measure. Directed by Stefan Marling for the Romatheatre on Gotland. I really looking forward to go on stege again after a long time of directing.
From now on I gone do the blog in Swedish.
Working on a project that is really interesting. We are planing to do a stageproduktion of Pinocchio together with pupils that can’t go to school. The one´s who don’t´accept the environment that the school is today. I have personal experiences in this so this really goes to my heart. We are planning to have the premiere in Länsteatern på Gotland in 2017. Up to that date there is work together with the kids and the professional actors and theaterworkers. We working with the theme; what is a real human being?
This feels meaningful!
Just came back from a livereading of my play “Tåbb with the manifest”. A play based on the book with the same name by Lars Ahlin. We did the reading in the kontext of the celebration of the authors birthday. He was to be 100 years 2015 if he would be still alive.
Thanks to the actors Bodil, Ingmar, Anna, Lena , Camilla and Peter it became a great reading and I am proud and satisfied with the play and how it came out. You can find the
play under the section Plays. Feel free to read it.
Actors are born like poets, because acting is poetry, it is art; you have to have an inborn spirit. Not everybody can be an actor, because one has to get so much involved in the act, so deeply involved, that one forgets that one is separate. One has to lose one’s identity in the acting, one has to become one’s part; one has to forget everything about oneself. This is no ordinary feat…
Acting is certainly the most spiritual of professions — for the simple reason that the actor has to be in a paradox: he has to become identified with the act he is performing, and yet remain a watcher. If he is acting as Hamlet he has to become absolutely involved in being a Hamlet, he has to forget himself totally in his act, and yet at the deepest core of his being, he has to remain a spectator, a watcher…
The really spiritual person transforms his whole life into acting. Then this whole earth is just a stage, and all the people are nothing but actors, and we are enacting a play. Then if you are a beggar, you play your act as beautifully as you can; and if you are the king, you play your act as beautifully as you can. But deep down the beggar knows, “I am not it,” and the king too knows, “I am not it.”
If the beggar and the king both know that “What I am doing and acting is just acting; it is not me, not my reality,” then both are arriving at the very centre of their being, the silent witness. Then they are performing certain acts and witnessing too.
Acting is the most spiritual profession, and all spiritual persons are nothing but actors. The whole earth is their stage, and the whole of life is nothing but a drama enacted.
He that doesn’t know and doesn’t know that he doesn’t know is a fool, shun him.
He that doesn’t know but knows that he doesn’t know is simple, teach him.
He that knows but doesn’t know that he knows is asleep, wake him.
He that knows and knows that he knows is wise, follow him.
Kampen mellan egot och självet. Här kanske kan finnas något… I Bibeln kallas den kampen mellan kött och ande. Och här tror jag inte det likställs kropp och ande utan kött och ande. Kött i bemärkelsen egot. det medvetna. CG Jung kallar kallar den högre kraften för självet, och menar att livet är en ständig kamp mellan egot och självet. Egot är den medvetna delen av vår varelse, medan självet uppfyller hela vår varelse, alltså både det medvetna och det omedvetna. Det kan också kallas för ”Gud i oss”, menar Jung. Egot är bara så liten som pricken i en stor ring. Därför är det enligt Jung omöjligt att endast med vårt medvetna jag avgöra vad som är bäst för oss. Hur ser detta ut i teaterarbetet? Jag försöker tänka hur jag själv förhåller mig till det. Jo, jag försöker ge plats för självet. Jag kan uttrycka, ropa efter det. Jag kan med rörelser och kropp åkalla det. Jag kan med meditation ge det plats. Jag kan be om det. Men räcker det? Måste jag inte också, med kraft och helig munterhet bryta ner, minska mitt ego? Hur yttrar sig mitt ego? Genom att hävda min perfektion! Genom att dölja mina brister! Genom att hävda min rätt och tolkningsföreträde! Genom att låta mina ”vardagliga” problem ta plats i teaterrummet! Genom att förneka Gud! Att förneka det Gudomliga i mig själv! Genom att låta det rationella komma först!…
Working down in Malmö/Lund with the play “The White Crow-Eichmann in Jerusalem” by Donald Freed. The actors works on themes, mirroring and breathing. Regarding the themes we go for the vertical ones. The big universal themes of humanity. We try too find the characters vertikal movement more than the horizontal. We don´t go for the characters history. We try too find the point of spiritual being. The actual birth of the spirit in the story.
Well, you can’t be more abstract than that, can you…
I directing the play “The White Crow – Eichmann in Jerusalem” with Teater Theatron www.teatertheatron.se and this Sunday we hade a inspiring afternoon with the author
Mr Donald Freed and guests att Moriska Paviljongen in Malmö. We hade a reading of the beginning of the second act before the seminar.
The Swedish Television were there;
The roses still blooming here in Gotland in late oktober. We have a very warm autumn.
I’ll guess this rose is saying; paint me! please!