Magazine about performing arts, by young voices

At first, Infinite Life seemed like something I could have done in my middle school art class. But without realizing it, I find myself sitting there with tears in my eyes, making eye contact with the actors on stage.

Thorbjørn Harr creates a playful and nuanced character study, where the music opens up for an unexpectedly vulnerable Peer Gynt. But it seems as if the first and second acts were directed by two different people.

What is the role of critics in the world of theatre? Aksel August has pondered this throughout the Hedda Festival – and life in general.

Is forgiveness something brave and beautiful, or a commodity that must be traded when you have nothing else? Who benefits from it? The one who forgives or the one who is forgiven?

DIY that really works, the primal child and a tribute to the imagination. Young voices have seen this year's performance at the Summer Theatre, by the second class at the Theatre Academy.

Unconventional, interactive, nerve-wracking; I find it difficult to choose the perfect word to describe “The Court” - but maybe the show wasn't meant for me?

When they were happy, I was happy, and when they were sad, I was sad. When they were passionate about a cause, I noticed that my subconscious was looking for a cause that I was passionate about.

The winner of the Young Voices Festival Award went to the performance 15 years, Det Norske Teatret.

A performance where the distinction between acting and reality disappears for a few hours, goosebumps rise and all the senses are triggered.

The hours fly by because of good humor and storytelling, writes Filip Jørgensen (16) about The Spanish Fly.

Oliver Lovrenski's "When We Were Younger" evokes laughter, nostalgia and sadness at Det Norske Teatret.

Morten Espeland makes Melancholia II an almost unbearably strong experience. But when the form is repeated in Melancholia I, the performance loses some of its mystery.