Artikkelens hensikt er å vise teaterhistoriens verdi og betydning. Med avsett i et hermeneutisk historiesyn beskrives teaterhistorien som et erkjennelsesmessig samspill mellom samtid og fortid. Begrepet om «historisk bevissthet» diskuteres som et akademisk-historiografisk begrep og som begrepsliggjøring av en nødvendig historisk bevissthet i og rundt samtidsteateret. Med utgangspunkt i en hermeneutisk forståelse av den teaterhistoriske bevisstheten vises det hvordan teatervitenskapen og den teaterhistoriske forskningen i det 20. århundre oppsto og utviklet seg i nært samspill med samtidens teater. Avslutningsvis argumenterer artikkelen for den generelle samfunnsmessige verdien og betydningen av teaterhistorisk forskning og skriving. The purpose of this article is to call attention to the value and significance of theater history. The writing of theater history is described as a hermeneutic inter-play between contemporary and past horizons. The concept of ”historical consciousness” is discussed as an academic historiographical concept and as a conceptualization of a necessary historical consciousness in and around contemporary theater. It is, shown how theatre studies, and especially theatre historiography, in the 20th century, was developed in close interaction with the contemporary theater. In the concluding section, the article argues for a general societal value and significance of theatre historiography.
In 2015, the Italian director Romeo Castellucci presented Oedipus the Tyrant at the Schaubühne in Berlin. His staging was based on the German poet-philosopher Friedrich Hölderlin's translation of 1804, which is known for its peculiar linguistic, philosophical, and theatrical approaches to Greek tragedy. In this article Keld Hyldig examines how Castellucci, in a response to Hölderlin's translation and commentaries on the tragedy, staged Oedipus as a theatrical and philosophical confrontation between religious and rational approaches to knowledge. The staging was seemingly simple, showing a group of nuns performing Oedipus in a monastery. However, the nuns’ Christian and feminine performance of the pagan and masculine tragedy was the basis of a metatheatrical complexity, which was reinforced through a film projection showing Romeo Castellucci getting tear gas sprayed in his eyes, making the relation between physical reality and fictional representation problematic. Keld Hyldig is an Associate Professor in Theatre Studies at the University of Bergen. He has published several articles about the Ibsen tradition in Norwegian theatre and is currently working on a monograph on that subject.
This volume of Teatervitenskapelige Studier contains one peer reviewed article and three non-peer reviewed essays in a themed section based on lectures given at the conference JOIN IN, about interactivity and audience participation in performing art for children and youth, which took place at Cornerteateret in Bergen, Norway, 30. Sept. -1. Oct. 2021. Additionally, in the open section, we present the peer reviewed article, "Noras utvikling mot 'jaevn natursandhed'" by Agnete Haaland. In her article, Haaland discusses the influence of Ibsen's play, "A Doll's House", and especially the main role, Nora, on the development of realist acting in Norwegian theatre.The conference JOIN IN was organized by the theatre network "Participate in your life" established in 2018 by the Norwegian theatre company Kompani 13 together with the Hungarian company Káva Kulturális Mühely. Four other theatre companies from Nordic-Baltic countries also participate in this network. The intention of the network is to explore interactivity in theatre for children and youth audiences through discussions and workshops and to develop possible coproductions. In august 2022 three of the co-working companies together with the National Kaunas Drama Theatre, and under direction of Hilde Brinchmann, premiered with the interactive performance "Tower of Babel" in Kaunas.The conference in Bergen embraced a wide range of themes within the field of theatre for children and youth audiences, with a focus on exemplifying, discussing and problematizing interactive and audience participation. This happened through lectures, workshops, panel discussions, performances etc.
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