60 years old | “It’s a mystery,” says cultural influencer Irina Krohn about her drift into the theater industry

As a child, Irina Krohn dreamed of a career as a biolawyer. Since then he became a theater director and a politician.

Good administration. It is a pair of words that repeats itself by Irina Krohn in speech often.

Krohn encountered the wretchedness of the administration, for example, while studying at Teatterikorkeakoulu during the years of danger, which were accelerated by the 1987 Oulu Theater Days God’s theater -provocation.

Turkey the students’ shit-throwing ruined the school for everyone,” Krohn gushes over his curry on the summer terrace.

Krohnik’s graduation was delayed due to the chaotic situation.

“Study weeks disappeared, and I received warnings about absences, even though teaching was not even organized. In relation to good administration, Turka was allowed to hang around at school for too long.”

In his opinion, the students should have been given trauma therapy rather than disciplinary measures.

“Later, as an MP, I wondered why the students had no legal protection.”

Nature the loving Krohn was originally supposed to become a “biolawyer”.

He got the idea when the family lived in the United States from 1969 to 1971. Pathologist father, professor Kai Krohn’s because of work.

“I watched on TV Perry Mason and I imagined giving a persuasive speech to a grand jury about why man is a part of nature and must not destroy it.”

The conviction was strengthened later when, at the age of 13, Krohn spent a year in Liberia with a family he knew.

“The mother of the family developed a hepatitis vaccine with chimpanzees. I read ethology, and Jane Goodall was my idol.”

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Krohn studied law at the University of Helsinki in the mid-1980s. The atmosphere of the boom period was unnerving.

“It was a pretty bad era. The social reality was strange, we swore in the name of unlimited growth. It was not tempting to pursue a career as a lawyer in such an environment.”

“I had no dreams of being an artist”, says Irina Krohn. He suspects that the director’s choice of profession was more about the ability to make the groups work.

The why How Krohn drifted into the theater is a mystery even to himself.

“I was by no means a particularly creative child, I had no artistic dreams.”

Krohn suspects that the director’s career choice was more about his ability to make groups work.

“It is somewhat the same method that an ethologist works with, i.e. first we observe. Leadership is not about showing up bravely.”

Through theater, Krohn says that he started to think about whether he could show his inner world in a way other than just saying that he disagrees.

“I think people should be able to distinguish between what is an opinion and what is the result of their own thinking. Modern times are full of opinions.”

Realizing this difference was about Krohn Jussi Parviainen The best part of dramaturgy teaching at Teatterikorkekoulu.

“That’s when you learned to stop and recognize at what point you take someone else’s opinion and claim that it’s your own observation.”

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Frustration however, he stayed for the training. In particular, the constant atmosphere of violence and the condescending attitude and way of speaking towards women was upsetting.

Frustration gave birth to, among other things Leea Klemola and Pentti Halonen with the democratically functioning Aurinkoteatteri, founded in 1989. Krohn’s first work, about the difficulty of loving, was presented under that name Lovedtriptych in 1991.

Krohn entered politics in the early 1990s. The transition was indirectly affected Jukka Virtanen.

“Jukka asked me To the board 1991. I had just married my current ex-husband, and Jukka must have thought that the young couple needed money.”

Pesti got a job as a columnist in Me Naiset magazine, and Krohn, who soon became a regular face in living rooms, was asked to be a candidate for the Greens’ city council. He served as a member of parliament for the Greens from 1995 to 2006, until he became the CEO of the Finnish Film Foundation (SES).

“Going into politics was not a decision to give up being an artist, but in practice it led to it,” says Krohn.

The background was the atmosphere of the 1990s, where art was thrown overboard, he analyzed.

“Market forces priced everything, and there was talk of surplus people who were perceived as ballast for the national economy. I wanted to fight this.” Krohn was influential for three terms in, among other things, the culture committee and the constitutional law committee.

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Krohn suspects that life might have been more fun and easier if he had stayed with collective theatre.

“People’s representative and the leadership of Ses were both professions that in a certain way distance you from people. Power can also arouse envy. For example, at the Film Foundation, you couldn’t maintain friendships with people in the industry.”

In 2016, Krohn’s firstborn son Rudolph died suddenly of cardiac arrest caused by a gene mutation. Mother’s grief is still deep.

“I am not going to return to politics. Bringing out thoughts, for example by writing, is interesting. The right to study law is also still valid, that is also an option.”

  • Born 1962 in Helsinki.

  • Chairman of the board of Kellariteatteri 1986–1988. Director of Aurinkoteatteri 1989–1993.

  • TV scriptwriting studies at the University of Austin 1990.

  • Started his studies in the dramaturg line of the Theater University in 1987, graduated with a master’s degree in Theater Arts in the directing line in 1997.

  • Member of the Helsinki City Council 1993–2004. Member of Parliament 1995–2006, first vice-chairman of the Green parliamentary group since 2001.

  • CEO of the Finnish Film Foundation 2006–2016.

  • Wrote plays Beloved triptych 1991 and The smile at the foot of the ladder means gravity and the albatross 1992 and a collection of columns Disobedience the best 2001.

  • Lives in Helsinki, daughter Frida. Firstborn son Rudolf died in 2016.

  • Turns 60 on Sunday July 10th.

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