‘Dukkehuset’ med Dukkehuset Teater

In 1960, Andre Bjerke wrote the poem about the doll for the doll for the doll in Dukkeveien 2. The doll has a doll that is taken care of by a doll that looks after a doll. In the doll's house, the mother feeds and cares for the doll. They go for walks together. They sing. They eat sweets. A musician in uniform plays the flute for them. There's no rush, there's time to rest and breathe. Inside the doll's house is a doll's house. Inside the reality, a new reality is revealed: the dolls have limitations. They can't bend their fingers. There are many things children can't do either. They can't always sit still, they can't hold a glass without spilling, they might drop a fork on the floor. The world demands something of them that they can't meet, and not a word is said.> Physical poetryThis is Grusomheten Teater's first performance for children, but as always, the physical expression is the driving force. The actors' physical poetry is what the children pick up on. Small shifts in tempo and dynamics become magical puppets with their own secrets. Antonin Artaud, who developed the concept of the theater of cruelty, based his theater vision on dance and physical poetry. His project is the beauty that springs from the seriousness of the silent, as it has been for all the adult performances. The puppets do not live an everyday realism, but in a poetic world. Children are just as prepared to accept the seriousness of existing at all as adults. Although it is a literary starting point, storytelling is not our main concern, but the magic of the ritual.> Children's own rhythmYou can solidarise with children's desire to have enough time to familiarize themselves with and solve the tasks they are faced with. Children have a different rhythm to adults. They take longer to perceive things and are often more clumsy. They see life not just as a material place, but as a poetic dimension. It is important to respect the life that does not meet today's demands for pace, speed and efficiency, this is a theater where this desired time is given. A home of patience provides security." The production is supported by Arts Council Norway and Fond for Lyd og Bilde.