Norwegian National Theatre. Theaters in Oslo

Photo: National Theatre of Drama

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 " national scene"). 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, 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 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. The dominant position in the theatrical life of Norway was occupied by the city theater in Christian, completely focused on 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 became the 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.

The Opera House (Oslo) is often compared to a snow-white, icy iceberg. The structure, despite the fact that it opened only in 2008, quickly topped the list of attractions and aroused the interest of millions of tourists with its amazing architecture and, of course, grandiose productions.

General information

The total area of ​​the theater is 38.5 thousand square meters, the main hall is 16 meters wide and 40 meters long and can accommodate 1364 people, there are also two additional rooms for 400 and 200 seats. Outside, the building is finished with white granite and marble.

Interesting fact! Since the time of the Nidaros Temple, built in 1300, the Opera and Ballet Theater in Oslo has been recognized as the largest building in the country.

The decision to build was made by the Norwegian Parliament. More than 350 projects took part in the competition. The victory was won by the local firm Snøhetta. Construction work continued from 2003 to 2007. NOK 4.5 billion was allocated for the project, but the firm completed the project for just NOK 300 million.

The opening of the theater took place in April 2008, the solemn event was attended by:

• the royal couple of Norway;
• queen of Denmark
• Finnish President.

This is interesting! In the first year of the National Theater's operation alone, more than 1.3 million spectators visited it.

main feature theater in Oslo - a roof on which you can walk and admire the surroundings. The wild, picturesque nature of Norway is available to everyone, you can explore any corner - this idea became the basis of the architectural project. If climbing to the roof of other buildings entails punishment and even arrest, the building of the opera house allows literally this word to touch art. The futuristic, refracting roof is designed specifically for walking on it. Here you can sit and admire Norwegian capital from an unusual perspective.

On a note! During the summer months, some theatrical performances take place right on the roof of the theatre.

Architecture and design

The Norwegian National Theater in Oslo was designed and built in an ultra-modern style, but the design of the building blends harmoniously into the surrounding landscape. In accordance with the idea of ​​the architects, the building is made in the form of an iceberg and built near the shore. The roof of the theater is assembled, like a mosaic, from three dozen white marble slabs and descends to the ground. Thanks to this sloping shape, every tourist can climb to the very high point Opera and Ballet Theater and see the capital of Norway from an unusual point of view.

Interesting to know! In winter, the slope of the roof turns into a snowboarding court.

In the central part of the roof rises a 15-meter tower, decorated with stained-glass windows, through which you can see the theater foyer. The roof is supported by columns unusual shape, designed in such a way as not to block the view of the theater guests. The outer part of the tower is decorated with aluminum sheets, the surface of which is decorated with a pattern imitating a weaving pattern.

Note! A sculpture is installed in the waters of the fjord. Steel and glass were used for its construction. Since the sculpture is not fixed in any way, the platform moves freely under the influence of gusts of wind and water.

Internal interior and engineering communications

main stage the theater has the shape of a horseshoe - this is the traditional form of stage platforms, since in this case it is possible to achieve better acoustics in the room. Interior spaces decorated with oak panels. Thus, there is a sharp contrast in the room between the warm surface of the wood and the cold exterior finish, which resembles a snow-white iceberg.

The hall is illuminated by a huge spherical chandelier. It is crafted from several hundred LEDs and adorned with 6,000 handmade crystal-shaped pendants. The total weight of the lighting device is 8.5 tons, and the diameter is 7 meters.

The technical equipment of the stage is recognized as one of the most modern in the world. The platform for theatrical performances consists of one and a half dozen independent parts, each can move in different directions. Also on the stage there is a moving circle with a diameter of 15 meters. The stage is two-level, the lower level is intended for the preparation of props, scenery and their rise to the stage. Individual parts are moved by a system of hydraulic and electrical mechanisms. The control of the stage, despite its impressive size, is very simple, and the mechanisms move silently.

A curtain with an area of ​​23 by 11 meters looks like foil. Its weight is half a ton. Much of the theater's power supply depends on solar panels, they are installed on the facade and are capable of producing about two tens of thousands of kWh per year.

Curious fact! Part of the room where equipment and props are stored is located at a depth of 16 meters. Immediately behind the stage there is a spacious corridor, along which cars with scenery drive onto the stage. This makes the unloading process easier.

IN opera house Oslo in Norway, excursions are held, within which tourists can get acquainted with its inner life, learn how the staging process goes and how the next masterpiece is born. Guests are escorted backstage, shown technical equipment scenes. Tourists can touch the curtain, visit the workshops and see with their own eyes how the scenery and props are prepared.

The guide tells in detail about the architecture, the guests are shown the dressing rooms, the rooms where the troupe artists prepare for the performance, tune in to the role. If you're lucky, you can see the artists in the process of getting used to the image. The most interesting part of the program is a visit to the dressing room. Amazing costumes and props for all theatrical productions are stored here.

The duration of the tour is a little less than one hour, for students educational institutions who study theater studies, an hour and a half is allotted to get acquainted with the theater. Tickets are on sale on the theatre's website. Study tours are held every day at 13-00, on Friday - at 12-00. Guides work for English language. Adult ticket will cost in 100 NOK, children's- 60 crowns. The theater accepts applications for excursions for families, groups of companies and organizations, schoolchildren.

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Helpful information

1. Theater address: Kirsten Flagstads plass, 1, Oslo.
2. You can enter the theater lobby for free, it is open: weekdays- from 10:00 to 23:00, Saturday - from 11:00 to 23:00, Sunday - from 12:00 to 22:00.
3. The cost of tickets for opera and ballet is indicated on the official website of the theater. Reservations must be made in advance, as those wishing to touch fine art so many. The site also provides information on reduced ticket prices for children, students and groups of 10 people or more.
4. Official website address: www.operaen.no.
5. How to get there: by bus or tram to the Jernbanetorget stop.

The Opera House (Oslo) in Barcelona in 2008 received the first prize at the architecture festival, and in 2009 the architecture of the building was awarded the European Union Prize.

Related posts:

• Address: Johanne Dybwads plass 1, 0161 Oslo, Norway
• Telephone: +47 22 00 14 00
• Website: nationaltheatre.no
• Opening date: September 1, 1899
• Architect: Henrik Bull

Perhaps the most important cultural asset of the country is the Norwegian National Theatre, a drama theater founded in the heart of Norway in 1899.

great creation

The theater building was erected on Karl Johan Street according to the architectural design of Henrik Bull. The Norwegian playwright Ibsen Henrik Johan is considered to be the founder of the Norwegian Theatre, on whose initiative large-scale construction began.

The pompous opening of the Norwegian National Theater took place on September 1, 1899 and lasted 3 days. The comedy of the famous Ludwig Holberg, Henrik Ibsen's drama "Enemy of the People", Bjornson's work "Sigurd the Crusader" were played on the stage. The founder of the theater was present in the auditorium, as well as the monarchs of Sweden and.

Historical reference

In the first years of its existence, the theater was supported only by private funds and voluntary donations from the townspeople. In 1906, Norway gained independence, and the drama theater began to be financed from the state treasury.

Since 1983, the Norwegian National Theater has been listed as cultural heritage Norway.

During the Second World War, the barracks of fascist soldiers were located in the theater premises. At the same time, performances continued to be staged on the stage, but the repertoire consisted exclusively of works by German authors. During the occupation, some theater workers were arrested.

In the first ten days of October 1980, a fire broke out in the building of the National Theater in Oslo, in which its stage and equipment were seriously damaged. The cause of the ashes was a faulty soffit. Fortunately, the auditorium survived thanks to the timely lowered fire curtain.

Theater today

Nowadays, on the stage of the theater come to life the best works foreign and national playwrights. The audience is delighted with the modern interpretation of imperishable writings. If you are planning to visit the Norwegian National Theater in Oslo, take some photos to remind you of the wonderful time you had.

How to get there?