Norwegian National Theatre. National Drama Theater

Along with theater national stage is the largest theater center in the country.

Story

The theater was opened in a building specially built for it on. The author of the project of the theater building is the architect Henrik Bull (Norwegian Henrik Bull). In 1983, the theater building was recognized as a cultural heritage site.

On the opening day, September 1, they played a comedy by Ludwig Holberg, on the second day there was a drama by Henrik Ibsen "An Enemy of the People", on the third day there was a drama by Bjornson "Sigurd the Crusader". During these three evenings, Bjornson and Ibsen were present, and on the first day, the king of Sweden and Norway, Oscar II, was also in the theater.

The theater was founded on a private initiative and at first existed solely on private funds. Already in 1906, a year after Norway gained independence from Sweden, the theater was in an economic crisis.

Staged on the stage of the theater the best works foreign and national playwrights: "Barabbas" by Nurdal Grieg (1927), "Our Honor, Our Power" by Nurdal Grieg (1935), "Professor Mamlok" by Wolff (1935), "The Executioner" by Lagerkvist (1935), "Victory in the Darkness" by Lagerkvist (1939), Czapek's "Mother" (1940), Hjellan's "The Lord and His Servants" (1955).

On April 9, 1940, Norway was occupied by Nazi Germany. During the occupation of Norway, the theater was used to house Nazi soldiers. Later, the occupying authorities forced several performances by German authors, as well as Wagner operas and operettas, to German. In May 1941, 6 theater workers fell under the suspicion of the Gestapo and were immediately fired from the theater. On May 24, 13 people were already arrested, they were released only two weeks later.

On October 9, 1980, a fire broke out in the theater building, destroying the stage and stage equipment. The theater hall was almost not damaged, as the fire curtain was lowered in time. It was later determined that the cause of the fire was an exploding soffit lamp.

Activity Norwegian theater and his greatest fame is associated with the name of G. Ibsen (1828-1906). He grew up in the family of a merchant, worked as an apprentice pharmacist, wrote his first youthful drama "Catilina" in 1849. In 1850-1851 Ibsen lived in Christiania and was actively engaged in journalism. In 1852 he was invited to the post artistic director, director and playwright at the Norwegian Theater in Bergen.

The Norwegian theater in Bergen grew out of an amateur group. In 1791-1793, national historical tragedies"Republic on the Island" and "Einer Tambe-shelver" by Brun. Actually professional theater under the name Norwegian Theater was opened in Bergen in 1850 (since 1876 it became known as the "National Stage"). It was the first truly national professional theater in Norway. The theater troupe consisted of Norwegians, and the repertoire consisted of works by Norwegian playwrights. Ibsen directed the theater from 1852 to 1856, and then the playwright B. Bjornson (1857-1858) headed the team. The management of the theater by famous Norwegian playwrights became milestone in the formation of the culture of the dramatic theater in Norway. Ibsen during this period actively works as a playwright. In the 90s of the 19th century, the German critic and theater historian Albert Dresdner, who visited the Bergen Theater, said that outwardly the theater building struck with bad taste and ugliness and did not at all correspond to the festive purpose that the tradition assigned to the theater building. However auditorium was quite decent (with one tier). This theater was of undoubted interest to the German critic - after all, many significant Norwegian actors came from here, and the Bergeners themselves are known for their artistic natures. The Bergen Norwegian Theater was something like preparatory school, where many promising young performers showed and tested themselves. Curious evidence was left by a German observer about the style of acting. He says that the main tone of the stage dialogues was without false pathos, but natural and simple. Heroes acted on the stage, seeming real and living people. “In most Norwegian writings,” he continues, “there is something of that monosyllabism, which is so wonderfully and convincingly reflected in the conversations of peasants in peasant stories Bjornson. Where full and solid tones dominate in our country, the Norwegians often sound half-tones, the sounds are cracked or muffled ... "The Norwegian theater seemed to the foreigner quite modern, but also having its own national characteristics.

In 1857, Ibsen was invited to head the Norwegian Theater in Christiania (later Oslo). Until 1862, Ibsen, with his directorial activity, dramaturgy, and articles, struggles for a truly national art- for the art of an idea, a deep theme, for the nationality of art. He writes that it is in the people that the national principle lives "as an unconscious demand and as a completely exhaustive expression for the perception of the national principle characteristic of our era." aesthetic views Ibsen are completely subordinated at this time to the idea of ​​"folk spirit", the idea of ​​the essential in art. In Notes on the Theatrical Question, Ibsen wrote: “Among a people, which is really a complete whole, culture can never be something isolated from nationality; on the contrary, the latter just determines those peculiar forms into which it pours out. common civilization in the life of a given people... To promote progress national culture means to serve in the spirit of the great truth European culture, whereas to put the latter on your people in the form of a foreign holiday attire, means only to suppress our own, rich inclinations of future strength, without moving those common culture not one step forward to the desired victory."

The Norwegian theater in Christiania was opened in 1854. However, before, as in Bergen, there existed in the 18th century amateur theater circles. One of the largest of these was the Christian "Dramatic Society", founded in 1780 and existed for 40 years, which in itself was an outstanding fact. The Norwegian theater became a competitor of the already existing Christian theatre. Having headed the Norwegian theatre, Ibsen is active in publicistic activity, defending his understanding of the tasks of the national theater. Dominant position in theater life Norway occupied the city theater in Christian, completely oriented to the Danish theater culture and quite hostile to young Norwegian drama. A struggle ensued between the two theatres. The city theater (Christian) found support in higher circles and government spheres. On the side of the Norwegian theater was the sympathy of citizens and nationally oriented figures of Norwegian culture. The struggle took on sharp forms and went beyond the inter-theater conflict - the state authorities refused to grant subsidies to the young Norwegian theater, providing it to the Christian Theater, indicating that this theater could well play plays by Norwegian playwrights. Ibsen in his articles leads a decisive polemic with the Christian theater and proposes to unite the two troupes into one, building the work of the united theater on the basis of more "correct principles" of the Norwegian theater. This struggle of Ibsen for national theater reflected, in particular, in his article on the "Art Ensemble". "At the Christian theatre," he says, "a corporation exists and has been operating for many years." It is she who sets the tone in assessing his activities (these are theatergoers, newspaper editors, reviewers). According to them, the Christian theater is a "classical" theater. But, says Ibsen, this theater lacks that genuine artistic spirit. When every artist "promises to regard the honor of the theater as his honor, to feel responsible for the activities of the theater, for its general direction and above all, never look at the stage only as a frame for the manifestation of personal virtuosity. "The theater must rise above the level of an entertainment establishment, the theater must have seriousness and height, the playwright continues. He wanted the artists to maintain a true corporate spirit, so necessary in theater; so that they "be aware of the obligations imposed on them by the very vocation. "In 1857, Ibsen gave his new drama"Warriors in Helgeland". The staging of a Norwegian play on the stage of a Danish theater would be a great victory for the Norwegian national culture. However, the Danish theater, citing financial difficulties, refused to stage Ibsen's play. This event (as well as the decision of the directorate of the Danish theater not to stage Norwegian plays) was the reason for Ibsen's new appearances in the press with the articles "On the characterization of the Danish theater in Christian" and "More on the theatrical question" - here he gave a detailed criticism of the activities of the Danish theater. These articles have become a kind of manifesto for the young Norwegian theatre. Paying tribute to the past Danish theater in Christian, which once played a positive role in introducing Norwegian society to Western European drama, Ibsen now accuses the Danish theater of the fact that, occupying a privileged position, this theater hinders the development of the Norwegian dramatic art and Norwegian drama. For several centuries, state and literary language Norway has officially recognized the Danish language. Norwegian, on the other hand, was considered a rude language - common people. According to Ibsen, “At first, the Christian theater resorted to fighting the emerging national Norwegian art, to the objection that our very language, our natural sluggishness, etc., pose insurmountable obstacles performing arts". Ibsen directly accused the directorate of the Danish theater that it "stands in the way" of all the national efforts of the Norwegians, and accused the Christian theater "with its foreign tendencies and anti-people spirit." The directorate of the Christian theater strongly affirmed the idea that the theater respects interests of Norwegian dramatic art. But the repertoire of the theater at the same time consisted of adaptations and translations of plays "taken from all over the world" Ibsen wrote with regret about the philistine public, "varnished with semi-intelligence", which made up the main contingent of visitors to the Christian Theater. Ibsen leads the controversy and with the press, which defended the policy of the theatre, a critic of the Christiania-Posten newspaper asserted that “Norwegian plays are, in general, extremely weak, insignificant works; Norwegian dramatic literature is still in the very first period of its growth, therefore it should not be allowed on the stage for the time being - let it enter a more mature period of development. " In response to this, Ibsen said: "... mature period Norwegian dramatic literature under such conditions can never come."

Ibsen's efforts were crowned with success - in 1863 the troupe of the Norwegian Theater joined the Christian Theater and the performances began to go only in Norwegian. But the problem of creating a genuine national theater was still not solved. The leading actors of the Christian Theater resisted the appearance in the theater repertoire of plays by Norwegian playwrights - including Ibsen and Bjornson, despite the fact that Bjornson served from 1865 to 1867 as artistic director of the Christian Theater. He was replaced by the Dane M. Brun. In 1870, most of the actors left the theater and formed an independent troupe under the direction of Bjornson. Only in the early 90s of the 19th century did the long-term struggle for the creation of a national theater end. In 1899, the Christian Theater ceased its activities, and its leading actors moved to the Norwegian National Theater organized in Oslo in the same year, which was headed by the son of the playwright Bjornson. The theater has become largest center cultural life countries. Ibsen, in 1864, left Norway for political and personal (creative) reasons - for him "Norwegian Americanism" was unacceptable, which, as the playwright said, "smashed me on all counts." Ibsen's voluntary exile lasted 27 years. During these years he created brilliant dramatic works that made him famous all over the world. He returned to his homeland only in 1891 ... Ibsen's work covers the entire second half of XIX century - his first play appeared in 1849 and his last in 1899. worldwide fame purchased his dramas "Brand", "Peer Gynt", " Dollhouse", "Ghosts", "Enemy of the People", "Wild Duck", "Hedda Gabler", "Builder Solness" and others.

norwegian theater

The activities of the Norwegian theater and its greatest fame are associated with the name of G. Ibsen (1828–1906). He grew up in the family of a merchant, worked as an apprentice pharmacist, wrote his first youthful drama Catilina in 1849. In 1850-1851 Ibsen lived in Christian and was actively engaged in journalism. In 1852 he was invited to the post of artistic director, director and playwright of the Norwegian Theater in Bergen.

The Norwegian theater in Bergen grew out of an amateur group. In 1791-1793, the national historical tragedies "Republic on an Island" and "Einer Tambeschelver" by Brun were shown here for the first time. Actually a professional theater called the Norwegian Theater was opened in Bergen in 1850 (from 1876 it became known as the "National Stage"). It was the first truly national professional theater in Norway. The theater troupe consisted of Norwegians, and the repertoire consisted of works by Norwegian playwrights. Ibsen directed the theater from 1852 to 1856, and then the playwright B. Bjornson (1857–1858) headed the team. The leadership of the theater by famous Norwegian playwrights was an important step in the formation of the culture of the Norwegian drama theater. Ibsen during this period actively works as a playwright. In the 90s of the 19th century, the German critic and theater historian Albert Dresdner, who visited the Bergen Theater, said that outwardly the theater building was striking in bad taste and ugliness and did not at all correspond to the festive purpose that the tradition assigned to the theater building. However, the auditorium was quite decent (with one tier). This theater was of undoubted interest to the German critic - after all, many significant Norwegian actors came from here, and the Bergeners themselves are known for their artistic natures. The Bergen Norwegian Theater was G. Ibsen in front of the theater building something like a preparatory school, where many promising young performers showed and tested themselves. Curious evidence was left by a German observer about the style of acting. He says that the main tone of the stage dialogues was without false pathos, but natural and simple. Heroes acted on the stage, seeming real and living people. “In most Norwegian writings,” he continues, “there is something of that monosyllable, which is so wonderfully and convincingly reflected in the conversations of peasants in Bjornson's peasant stories. Where full and solid tones dominate in our country, the Norwegians often sound semitones, cracked or muffled sounds ... " The Norwegian theater seemed to a foreigner quite modern, but also having its own national characteristics.

In 1857, Ibsen was invited to head the Norwegian Theater in Christian (later Oslo). Until 1862, Ibsen, with his directing, dramaturgy, and articles, fought for a truly national art - for the art of an idea, a deep theme, for the nationality of art. He writes that it is in the people that the national principle lives "as an unconscious demand and as a completely exhaustive expression for the perception of the national principle characteristic of our era." The aesthetic views of Ibsen are completely subordinated at this time to the idea of ​​the "folk spirit", the idea of ​​the essential in art. In Notes on the Theatrical Question, Ibsen wrote: “Among a people, which is really a complete whole, culture can never be something separate from nationality; on the contrary, the latter just determines those peculiar forms into which the general civilization pours out in the life of a given people ... To promote the progress of national culture means to serve the great European culture in the spirit of truth, while putting the latter on one's people in the form of a foreign festive attire means only stifle our own, rich inclinations of future strength, thereby not moving the common culture one step forward towards the desired victory.

The Norwegian Theater in Christian was opened in 1854. However, before, as in Bergen, amateur theatrical circles existed here as early as the 18th century. One of the largest of these was the Christian "Dramatic Society", founded in 1780 and existed for 40 years, which in itself was an outstanding fact. The Norwegian theater became a competitor of the already existing Christian theatre. Having headed the Norwegian theatre, Ibsen is active in publicistic activity, defending his understanding of the tasks of the national theater. The dominant position in the theatrical life of Norway was occupied by the city theater in Christian, completely oriented towards Danish theatrical culture and quite hostile to the young Norwegian dramaturgy. A struggle ensued between the two theatres. The city theater (Christian) found support in higher circles and government spheres. On the side of the Norwegian theater was the sympathy of citizens and nationally oriented figures of Norwegian culture. The struggle took on sharp forms and went beyond the inter-theater conflict - the state authorities refused to grant subsidies to the young Norwegian theater, providing it to the Christian Theater, indicating that this theater could well play plays by Norwegian playwrights. Ibsen in his articles leads a decisive polemic with the Christian theater and proposes to unite the two troupes into one, building the work of the united theater on the basis of more "correct principles" of the Norwegian theater. This struggle of Ibsen for the national theater is reflected, in particular, in his article on the "Art Ensemble". "At the Christian theater, he says, the corporation exists and has been operating for many years". It is she who sets the tone in assessing his activities (these are theatergoers, newspaper editors, reviewers). According to them, the Christian theater is a "classical" theater. But, says Ibsen, this theater lacks that genuine artistic spirit. When every artist “promises to regard the honor of the theater as his honor, to feel responsible for the activities of the theater, for its general direction, etc. above all, never look at the stage only as a frame for the manifestation of personal virtuosity. The theater must rise above the level of an entertainment establishment, the theater must have seriousness and height, the playwright continues. He wanted the artists to maintain the true corporate spirit, so necessary in the theater, so that they "recognized of the obligations imposed on them by the vocation itself". In 1857, Ibsen gave his new drama "Warriors in Helgeland" to the city Christian Theater. The staging of a Norwegian play on the stage of a Danish theater would be a great victory for the Norwegian national culture. However, the Danish theater, citing financial difficulties, refused to stage Ibsen's play. This event (as well as the decision of the directorate of the Danish theater not to stage Norwegian plays) was the reason for Ibsen's new appearances in the press with the articles "On the characterization of the Danish theater in Christian" and "More on the theatrical question" - here he gave a detailed criticism of the activities of the Danish theater. These articles have become a kind of manifesto for the young Norwegian theatre. Paying homage to the past Danish theater in Christian, which once played a positive role in introducing Norwegian society to Western European drama, Ibsen now accuses the Danish theater of having a privileged position that hinders the development of Norwegian dramatic art and Norwegian drama. For several centuries, Danish was officially recognized as the state and literary language of Norway. Norwegian, on the other hand, was considered a rude language - common people. According to Ibsen, “At first, the Christian theater resorted to fighting the emerging national Norwegian art, to the objection that our very language, our natural sluggishness, etc., pose insurmountable obstacles to stage art.” Ibsen directly accused the directorate of the Danish theater of "standing in the way" of all the national efforts of the Norwegians, he also accused the Christian Theater "with its foreign tendencies and anti-national spirit".

The directorate of the Christian Theater in every possible way affirmed the idea that the interests of Norwegian dramatic art are observed in the theater. But the theater's repertoire at the same time consisted of reworkings and translations of plays "taken from all over the world." Ibsen wrote with regret about the petty-bourgeois audience, "varnished with semi-intelligence," which constituted the main contingent of visitors to the Christian Theater. Ibsen also argues with the press, which defended the policy of the theater. A critic of the Christiania-Posten newspaper argued that “Norwegian plays are, in general, extremely weak, insignificant works; Norwegian dramatic literature is still in the very first period of its growth, therefore it should not be allowed on the stage for the time being - let it enter into a more mature period of development.. In response to this, Ibsen said: "... The mature period of Norwegian dramatic literature under such conditions can never come."

Ibsen's efforts were crowned with success - in 1863 the troupe of the Norwegian theater joined the Christian theater, and the performances began to go only in Norwegian. But the problem of creating a genuine national theater was still not solved. The leading actors of the Christian Theater resisted the appearance in the theater repertoire of plays by Norwegian playwrights - including Ibsen and Bjornson, despite the fact that Bjornson served from 1865 to 1867 as artistic director of the Christian Theater. He was replaced by the Dane M. Brun. In 1870, most of the actors left the theater and formed an independent troupe under the direction of Bjornson. Only in the early 90s of the 19th century did the long-term struggle for the creation of a national theater end. In 1899, the Christian Theater ceased its activities, and its leading actors moved to the Norwegian National Theater organized in Oslo in the same year, which was headed by the son of the playwright Bjornson. The theater has become the largest center of the country's cultural life.

Ibsen, in 1864, left Norway for political and personal (creative) reasons - “Norwegian Americanism” was unacceptable for him, which, as the playwright said, "smashed me on all counts". Ibsen's voluntary exile lasted 27 years. During these years, he created brilliant dramatic works that glorified him throughout the world. He returned to his homeland only in 1891 ... Ibsen's work covers the entire second half of the 19th century - his first play appeared in 1849, and the last - in 1899. His dramas "Brand", "Peer Gynt", "A Doll's House", "Ghosts", "Enemy of the People", "Wild Duck", "Hedda Gabler", "Solnes the Builder" and others gained worldwide fame.

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The National Theater is one of the leading theaters in Europe, it respects tradition, but is not against innovation. Centrally located Norwegian capital Oslo, between the castle and the parliament, in a beautiful building dating back to the turn of the century.

History of occurrence

The National Theater in Oslo, from the moment it opened on September 1, 1899, was truly Norwegian and its dramas were performed purely in this language. The desire to create a theater for Norwegian playwrights and theater artists was a natural part of state building and secession from Sweden at the turn of the century. This process was completed in 1905. The building was later protected by the Law on cultural heritage in 1983.
The project of the building was developed by Heinrich Bull, and it is worth saying that it was very successful, because it has been in operation for more than a hundred years.
The history of the theater and the ensemble begins in the Theater of Christiania, which has existed since 1829 and leads a nomadic lifestyle. Bjorn Bjornson became the first director. The National Theater in Oslo was founded, built and operated entirely by private funds, perhaps because it ran into financial problems so early. In 1906 the theater experienced its first major economic crisis.
In 1911, the actor and director Halfdan Christensen took over the directorship, after which began what is often referred to as the golden age of the theatre. Legendary actors began to play on its stage: Seal Gustav Thomassen, Ragna Wettergreen, Ingolf Skchanch. And Giovanna Dubwad had the right to choose roles, enshrined in the contract. In addition to everything, the theater had a strong orchestra, and from 1910 to 1922, its own ballet.
1924 was a landmark production of Journey to the Christmas Star, written by director Sverre Brandt. It brought great success and has not lost its relevance over the years, each time impressively replenishing the theater's finances. From 1928 the theater in Oslo began to receive modest subsidies for grants. Their part increased slowly but relentlessly, and by 1975 made up more than 90% of the theater's assets.

Architecture

The National Theater in Oslo houses one of the finest Norwegian art collections. The walls of the building are decorated with paintings famous artists like Karl Fjell, Erik Werenskiöld, Christian Krogh, P.S. Kroyer. Here you can see the busts of Per Palle Storm, Gustav Vigeland and others famous masters Norway. In front of the theater there are monuments to Norwegian writers - Bjørn Bjornson and Henrik Ibsen. Together with Ludwig Holberg, these two names national importance engraved on the facade of the theater building.

Neighborhood

You can stay at the Rica Travel Hotel. During the walk, it is worth taking a look at the Parliament building, admiring the Royal Palace, and marveling at the unusual glove-shaped fountain on Christiania Square.

Note to the tourist

The Oslo National Theater box office is open from 09:30 to 18:30 Monday to Friday, and from 11:00 to 17:00 on Saturday. Ticket prices depend on the hall and seat you have chosen:
Main stage from 200 to 480 NOK; Amphitheater from 260 to 320 NOK; Torshovteatret 240 NOK; Bakscenen 200 NOK;
Malersalen 190 NOK. Special prices are set for children's performances. For students and pensioners there is a discount from 25 to 50%. For groups of more than 30 people, the discount will be 20%, from 10 people - 10%. The remaining tickets for the performances of the current day are sold two hours before the start of the day at half price. doors theater hall are closed immediately at the start of the performance.

Photo: National Theatre of Drama

Photo and description

The National Drama Theatre, designed by the architect Henrik Byll in the capital of Norway - Oslo - in 1899, is the largest center of theatrical life in the country. The opening of the stage, which took place on September 1, was attended by the King of Sweden and Norway, Oscar II and other famous personalities.

In the early years, the theater existed on private funds. A year after Norway gained independence from Sweden (1906), he began to experience an economic crisis. Constantly required financial assistance from the state led to the nationalization of the theater.

During the years of the occupation of Norway by fascist Germany, the theater housed barracks for soldiers, and later they even forced the troupe to play several productions in German.

A fire in 1980, which broke out as a result of a spotlight explosion, destroyed the stage and stage equipment, however, the auditorium was not damaged.

In 1983 The building of the Norwegian National Theater received the status of an object of cultural heritage of the country.