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About Teater Giljotin
Theater is art. Teater Giljotin is an art project.
We are researching, deepening and renewing in an constantly evolving process. Our societies immune system is the idea of normalcy. We want the theater to be the virus that crosses borders and expands both inner and outer freedom, lust and affirms love.
We have a hard time with isms, at our core we are seeking people and their existential stipulations. Our hopes are that art can inspire a better world. This is both naive and true.
1989. We began with the words. Text was at the center and the word would be the meat. The text is what we have as our jump off point and we have had many discoveries of new and, in Sweden, never before performed, dramatists.
In 1997 we performed ”Barnet” (The Child), which had waltzed through various institutions. No one wanted to, or dared to, host Jon Fosse who was at that time an unknown Norwegian dramatist. But we were sucked in at the first reading. It was genius and completely shone. It was a love that turned out to be mutual. Jon Fosse came and saw ”Barnet” (The Child) and sent his next play, ”Natten sjunger sina sånger” to us. Other plays by Fosse that we have performed have been ”Mor och barn” (Mother and Child) and ”Vinter” (Winter). Today Jon Fosse is a dramatist that performs worldwide. He has been translated into 40 languages and performed in 117 countries. Fantastic. We are proud to have been the first theater outside of Norway to have him!
Inger Edelfeldt is a very important dramatist for the theater. With her we have performed some of our biggest successes such as ”Kamalas Längtan” (Kamalas Longing), ”Ur askan” (Out of the Ashes) and ”Den perfekta mannen” (The Perfect Man).
Thematically we have researched sexuality and violence in dysfunctional families in plays such as ”Jag heter Isbjörg, jag är ett lejon” (My name is Isbjörg, I am a lion) by Vigdis Grimsdottir, ”Det vacklande huset” (The staggering house) by Maria Jotuni, ”Markisinann de Sade” (The Marquis de Sade) by Mishima and ”Rikschett” by the pseudonym Matilda. We have researched origination’s squirming and craziness in ”Belsebubsonaten” by Witkiewizc and in ”Artaud” by Charles Marowitz.
We have also found internationally interesting artists and invited them to Teater Giljotin. This has led to productions such as ”San Clemente” by Karina Holla, ”Lost Chicks” by Galina Borissova, ”Couple with Plates” by Tatyana Maneva and ”4:48 Psychosis” by Sara Kane, directed by IIlja Bekirov. Several other interesting and noted workshops have been held by Petar Todorov (Bulgary), Gregor Kamnikar (Slovenia), Ken Rus Schmoll (USA) och Nadine George (England).
Performance and new forms
Artistically we are always looking for new expressions and have found ourselves coming closer to dance and the physical performance tradition. Our references are very often found outside of Sweden’s borders.
”Never kill your darlings” and ”Tortured teens in bondage” are examples of two performances synonymous with the composer Rikard Borggård and the performance artist and singer AK von Malmborg. With ”The total fucking death experience” directed by Kia Berglund, that we showed in the Spring of 2005, the text based theater was no longer the focus.
We want to renew and are inspired by what is happening in Europe, to be a part of it and let Stockholm become an interesting meeting place and not become a little town on the outskirts.
We seek new roads. Not because we haven’t been good at what we have done earlier, but because we have been inspired by what we have seen and those we have met.
Grey Room Giljotin – Swedens first performance gallery
Contemporary art has often functioned as a big inspiration source for the performances at Teater Giljotin. Our dogma is to support and produce the futures performance and dramatic art. Grey Room Giljotin is a newly started project to further challenge the collaboration in the grey zone between different disciplines and create a hotbed for tomorrows performance art!