Magazine about performing arts, by young voices

Tobasi played with humor, sadness, and rage, and you were drawn into the story as he told it so vividly. The seriousness of the situation became clear, and you started to ask the question "what could they have done today if they hadn't lived under such circumstances?"

Apart from the screens on the floor, the classroom looks like a normal classroom. The narrators are wearing everyday clothes and two of them are sitting among us at the desks. The fact that the performance takes place in a normal classroom makes the whole story seem much more real and realistic.

I think the dancers were good. They had clear and precise movements, but that doesn't give me anything.

The performance makes me reflect on how clear and important the face is when talking to someone, what prejudice can do to a conversation, and how the fact that no one sees you affects what you share and what you don't.

At times a little spooky, but very unique and with respect for the children in the audience, writes Lucas about Circus Antero.

In the monologue performance "1969," Kate Pendry travels through present-day and childhood London, searching for answers and reconciliation. The audience is invited along, but must work to stay connected throughout.

Cirqus Hialøs highlights the delicate balance between life and death, writes Josefine R. Narverud in this essay about why trust is important in circus art.

Fiona Åtland (19) has seen The Book of Mormon in both London and Oslo, and writes that the Folketeatret delivers a stylish and tight version.

The new circus performance "The Shedding" paints a macabre picture of today's society and explores how far one is willing to go for others. How far are you willing to bend and fold yourself, to be loved?

Although "The Never-Ending Story" is visually impressive and has several strong scenic moments, there are some weaknesses in the direction and dramaturgy that gave me the feeling that the play really became a "never-ending story", for better or worse, writes Elianne Kvammen.

Fiona Åtland has seen Teater Leikhus's performance You Mean All the Words and in this commentary she takes a look at audience development and theatre in Norway in general.

“Sugar” uses humor, satire, and brutal honesty to expose how skewed representation can become when it is controlled by those outside the target audience. 

The performance Psychedelic Cave removes one of the most important senses of the audience; sight. What hides in the darkness? Destruction or creation?