Theater Who is interested in Väinö Castle in 2021? It would be worthwhile, says director Juha Luukkonen


“Well let’s say I saw that if a work is Linna’s third best novel, it is pretty good. ”

Supervisor Juha Luukkonen not afraid to disagree Väinö Castle with. No, even though the author Linna is absolutely Luukkonen’s idol, even in the “position of a moral and ethical cornerstone”.

The controversy concerns the castle’s first work, published in 1947 Goal, which Luukkonen arranged and directed for the Kokkola City Theater stage last year. This week, the performance was seen at the Theater Summer.

According to Luukkonen Goal is the Castle ‘s third best novel.

The author himself, on the other hand, has been told to comment on his work as a “product of a confused and confused mind”.

On the other hand, repeat his novel Black love The castle said he “hates like freshly slaughtered pork,” so maybe he would have had the same order.

It easily slips like this when we talk first about a country boy as a factory worker, then as a worker writer and still as a national writer about Väinö Linna, who rose there on top of the famous cabinet. If not for a whim now, then at least for a pretty petty thing.

Everything has been translated, researched and told many times.

And who now even cares, the Lord in 2021 someone Castle. Or Goal at least, the small and rather confusing life of Valte Mäkinen, the son of a poor caterer family, in a factory town on the edge of a rapids?

It would be of interest. Luukkonen thinks so.

“Here are two things that are both eternal and terribly topical.”

According to Luukkonen, the topical issue is that in the same way as the factory’s workforce In the goal living in miserable conditions in a dilapidated wooden house block very similar to the Amur district, we have, in society again, or still, a miserable list and a poor.

“The landscape of having people on two or actually more floors is terribly acute for us.”

Luukkonen sees that even before the corona pandemic, Finnish society was unfortunately similar in structure as in 1917.

“I don’t paint devils on the walls, but that led to an armed confrontation. Similar inequalities and value conflicts between social classes still exist. ”

The dichotomy just is more fragmented than before.

“The croft system was arbitrary and unpredictable. But in Finland, unpredictability has increased in such a way that almost anyone can drop by surprise. You lose your job, your apartment: things are interconnected. It doesn’t always require you to drink yourself in the street. ”

It is also the case that the poor or otherwise incompetent are no longer a cohesive group. There is no common interest for a platform economy food broadcaster or drug addict.

“That’s why they’re easy to manage.”

Forever In the goal, as in other Castle works, the questions are “who am I, what should I use my life for, is there a God,” says Luukkonen.

“And I think they have been terribly lost in our nation for a long time. That if they’re not trendy, they don’t seem to be true. ”

The goal it is impossible not to read at least to some extent autobiographical. Like Valte Mäkinen, Väinö Linna came to the city, went to the factory, started to move forward, writes.

When you watched Luukkonen’s work at the Theater Summer in the brick-walled hall of Pakkahuone, it was easier to keep more distance from the castle’s life.

With his dramatization and direction, Luukkonen has succeeded in reducing it so that, when read in places, the essence of a book that becomes quite pregnant is more clearly visible – without the novel being subjected to violence.

Niko Karjalainen is one of the Valte Mäkinen of the Goal directed by Juha Luukkonen. Outi Kärpänen in the background.

Four actors – Niko Karjalainen, Outi Kärpänen, Petra Heinänen and Hanna Vähäniemi – carry a story in their narrative.

The staging is simplified, indicative, and there is no need to argue about the year of the novel, because no precise epoch has been sought.

It is easy to agree with director Luukkonen, who in the interview described his interpretation as “a kind of return to the basics of theater”.

Luukkonen is before The goal directed to the stage as well To an unknown soldier that Here under the North Star.

When the Castle is a kind of home god for the director, it inevitably comes to mind whether the well-known respect for the author’s works affects the artist’s freedom.

Do the pounds know when you start work?

A little smile from the hatch.

“The bar should always be higher than you think you can get. Besides, as a measure of art, bad – good or even success – failure are flat indicators. You have to think more about whether the performance is such that it is worth doing even if it goes wrong. ”

Why should a work be performed? The reason must always be large enough, Luukkonen says.

With castle themes that are consistently on display already In the goal, there will never be problems.

“The castle is always on the side of a small person, poor and sore, and strives to see beauty in ugliness, light in darkness.”

Väinö Linna at Finlayson’s factory in Tampere in the 1950s.

Juha Luukkonen

  • Theater director, born in Jyväskylä in 1976. Grown up in Helsinki. Graduated from the Theater Academy as a director.

  • Theater director at Kokkola City Theater.

  • Worked in different parts of Finland. In addition to directing, he dramatized or adapted several works for the stage, for example Lapualaisoperra, That’s where the seer is where the author is, To an unknown soldier and Here under the North Star.



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