Radio review Impressive novelty No one’s container transports Minna Canth in three different times – Actors collaborate seamlessly

Anni Mikkelsson’s listening deals with the relationship of different generations to Canth and its effect in different eras to this day.

Minna Canth (Jonnakaisa Risto) has been exhausted and depressed in the 1880s. She has had her seventh child and is a widow just before that. She doesn’t want a little band in her arms, even though she should be breastfeeding.

Literature student Hanna (Satu Tuuli Karhu and Seela Sella) notices that she is pregnant with a fellow student in the 1950s. Her optimism about solving everything easily collides with the spirit of time when applying for an abortion. A selfish woman does not resort to scolding but to gruesome violence against herself.

In the 2020s, Thirty Cereals (Vera Veiskola) is not pregnant. However, his physicality does not escape, biology-like menstrual and hormonal messages. And at the same time, most lovers of youth have been blessed with “a child, a heterosexual relationship, and a sensible winter jacket”.

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Anni Mikkelsson radio play No one’s container grabs the deepest gender inequality and recalls it with its barren bodily nausea, pain, and swollen breasts. Maternal instinct is not always enough, but even a child — even a dead one — never escapes.

The name of the listening refers, of course Biblical mention of the woman as a “weaker vessel”. But combined with the story’s plot, the word “vessel” also becomes a pretty macabre conjunction in the womb.

Author Minna Canth (1844–1897) is indeed one of the protagonists of the listen, but the story also deals with the relationship of different generations to Canth and the influence of Canth in different eras to the present day.

The only burden of impressive listening is the slight confusion caused by the overlap of time levels, which is not alleviated by the fact that the middle of the protagonists performs at two different times as interpreted by the two actors.

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At the end, however, the blocks snap into place in the seamless collaboration of actors of different generations.

Not anyone dish contains references to Canth’s last remaining play Anna Liisa (1895), completed in 1979 Taisto-Bertil Orsmaan radiodramatization can be found in the Arena. The notions of decency and honor in it are reminiscent of how close attitudes toward women, mainly associated with the Taliban, are in our own history today.

The young woman in the story is strongly mirrored from the perspective of her father and groom candidates. Child murder completely falls on a woman’s neck. No responsibility is placed on the child’s father for what happened.

No one’s dish, Radio 1 at 6pm and Arena. Anna Liisa, Areena.

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