Theater Review The man, played by Johannes Holopainen, drives his mustache in Theater Jurka’s monologue, which emphasizes complete solitude

Essi Rossi has directed and dramatized the monologue based on a novel by Emmanuel Carrère.

Mustache. Finnish premiere at Theater Jurka 3.3. Written by Emmanuel Carrère, Direction and dramatization Essi Rossi, scenography Tinja Salmi, costume design and production Liisa Pesonen, sound design Pauli Riikonen, lighting design Saku Kaukiainen. On stage Johannes Holopainen. ★★★

Jurkan Mustache is a kind of nightmare and dreamy mix that doesn’t really make you mind the difference between what’s awful and what’s wonderful fantasy.

Emmanuel Carrèren Mustachenovel revolves around one idea. The man who drove his mustache will find that the rest of the world – or at least his close circle – never had a mustache.

This is where a series of coincidences set in motion. Whose perception of reality is really distorted? The man goes deeper and deeper into his own world and the mustache rises to him to symbolize something and rises to the threshold.

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Is the role of a man on the turn? Or maybe just this man? Essi Rossi has directed and dramatized Mustache-roman actor To Johannes Holopainen a monologue version that emphasizes the complete experience of solitude. In Carrère’s own film dramatization, everything happens in a realistic environment, but the stage version immediately takes you towards mental landscapes and philosophical questions about what is true in your own reality and what is not.

Tinja Salmen the stones that break in the staging bring out the fragility of the human mind. Often the absurd is more credible in theater than realism, for the absurd has a theatrical suction. Although MustacheThe idea of ​​the performance sounds absurd, but the performance itself is not really it, but rather metaphysical. The idea does not concretely enter the stage, as the absurd often does.

Despite all the physicality and installation properties Mustache it is quite a written and text-driven presentation. In the mustache is still a subtle and sincere questioning of one’s own image of reality, above all radiating from the essence of Holopainen, where cinematism is combined with foolishness.

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Brightly and simply the acting Holopainen has indeed got a terrain suitable for his own immediate audience contact from Carrère’s text, which allows the audience to be constantly surprised.

Holopainen does not depict his mind as much as any other character, but rather entices the audience to face the work escaping the truth all the time.

Previous collaboration between Ross and Holopainen A military boy has toured extensively in Finnish theaters. Its emotional story appeals to many, but for myself, the work remained a bit distant, illustrating things rather than dealing with them in a particularly interesting way. Instead Mustache comes – closer to me, of course, because of Jurka’s small space.

Sound and lighting design with the help of Holopainen’s small parts of the song, many alternative interpretations of the man’s situation slowly appear on the stage. Maybe man has encountered the limits of our current human image at all.

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