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THE RIFT BETWEEN WHAT HAS BEEN AND WHAT HAS NOT YET BEGUN
An interview with director Anja Suša
Our version of Tove Ditlevsen’s life and this production takes place somewhere between what has been and what has not yet begun. Can you expand on what that means?
– The quote comes from Tom Silkeberg, who dramatized The Copenhagen Trilogy. He was interested in approaching the book through the philosophical idea of hauntology—a concept coined by Jacques Derrida and further developed by Mark Fisher. It describes a contemporary world haunted by its past and by lost, potential futures.
I was drawn to the idea because, to me, the theatre is a place without history. Or rather, it is a place full of history that simultaneously suffers from a certain kind of amnesia. Everything we create is for the present moment and has a short lifespan before fading into the past. This goes hand in hand with the type of performing arts I am interested in creating, which relates to and explores its own “now.”
Memory and how it is constructed is an important theme in your production. What is it about memory as a subject that you find interesting and inspiring?
– I have always been interested in how flexible historical time is, depending on who is telling the story and the context in which it is told. The process of memory possesses a subjectivity that is also deeply connected to one’s imagination and capacity for perception. Therefore, the subjectivity of memory becomes particularly interesting when tied to someone with a powerful imagination, like an artist or a writer.
Then there is another layer, which is the readers’ relationship to her memories through the books she published. Fifty years after her death, she is still the subject of various discourses and conversations. Her memories have not only been a projection screen for her own imagination, but also for several generations of readers.
What would you like to say to an audience member who has read and loved Tove Ditlevsen’s literature, and has high hopes or expectations for this production?
– I would like to ask them to activate their own imagination and perceptions of The Copenhagen Trilogy. I want them to participate by bringing their own prior understanding and knowledge—whether vast or small—and put it to good use during the performance.
The production does not strive for any kind of objective retelling of Tove Ditlevsen’s life. I cannot recreate the auto-fictional process because it is not my story. However, I can fictionalize it, which is what I have done. Through this, I explore Mark Fisher’s idea that the past refuses to be forgotten, and the present refuses to be remembered. And somewhere right there, in the rift between what has been and what has not yet begun, this performance takes place.
Anton Elmgren
Dramaturge
Uppsala Stadsteater

 

The performance “Women As Lovers” was part of the main selection of the Swedish Performing Arts Biennial in June 2023.

 

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Photo: Fredrika Eriksso

 

 

The performance #jeanne has been selected to participate in the Main program of the Belgrade International Theatre Festival (BITEF) in 2023.Jeanne_News
Photo: Fredrika Eriksso

 

 

The Jury of the Swedish Assitej Awarded Anja Suša with the Prix d’ ASSITEJ for 2019.
(together with the Zebra Dance Company).

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The Jury’s motivation for awarding Anja Suša. The award was given”for her artistic and thematically brave stagings for young people and young adults about the great issues of life and the role of an individual in the collective. She is a prominent bearer of a European tradition, which opposes nationalism, through ethnic and cultural diversity and individual freedom. This has resulted in a number of remarkable theater shows on Swedish scenes. Anja Susa creates theater art that appeals, challenges and touches the young audience.

Opening: June 2019

The Performance “Once We Got Lost ” Awarded!

The performance “Once We Got Lost” by Lotte Faarup was awarded the Best Performance for Young Audience Award at the Zlata Paličica Festival in Ljubljana in October 2017.

The performance “Blood on the Cat’s Neck” Awarded

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The performance “Blood on the Cat’s Neck” by Rainer Werner Fassbinder produced by Teatr Polsky in Bydgoszcz was awarded the main prize at the New Theatre Festival (Festiwal Nowego Teatru) in Rzezow, Poland. The jury awarded the performance “for searching the new ways of expression, intelligent interactivity and the power of team spirit accompanied by the capacity of building expressive artistic creation.”

http://ksiazki.onet.pl/teatr-polski-w-bydgoszczy-z-nagroda-dla-zespolu-na-festiwalu-nowego-teatru/zmj1m6

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