Journey Back Home Sep 24, 2016

Verdensteatret Bridge over Mud is a perfect theater, the one that reminds of theater Edward Gordon Craig’s evokes in his essay “The Actor and the Ubermarionette.” “If you can find in nature a new material, one which has never been used by man to give form to his thoughts,” writes Craig, “then you can say that you are on the high road towards creating a new art. For you have found that by which you can create it.” (EGC, “The Actor and the Ubermarionette”, The Mask, Vol. 1. p.


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Sounding Off: Verdensteatret’s Bridge Over Mud Sep 24, 2016

There’s a 1929 painting by the American artist Arthur Dove that I’ve loved for a long time, though I’ve only ever seen it in reproduction. It’s called Fog Horns, and though you can read in it landscape and layers of atmosphere and distance, it is as much about sound as it is space, as Dove’s title signals. Concentric ovals suggest the way sound travels, starting loud and concentrated at a center and then softening as it moves out from its source, waves of sound over and overlapping waves of water. 

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"If a City Could Have a Nightmare, It Would Look Like Bridge Over Mud" - The Stranger Previews Verdensteatret Sep 23, 2016

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Bridge Over Mud - The Audience Has Spoken Sep 23, 2016

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Review: Verdensteatret's Bridge Over Mud Sep 23, 2016

Verdensteatret’s Bridge Over Mud begins with the same intention as the Annunciation but is different from the Latin version of Gabriel’s announcement to Virgin Mary. It begins, however, with the announcement of the arrival of glorious life. 

The screen on the left wakes up to light, light reflected by a primordial mud, somewhat mercurial in texture and color, moving in protoplasmic gestures, towards a unity of some sort.

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"Psychedelic Norwegian Theater" - The Seattle Times on Verdensteatret Sep 22, 2016

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