Work begins June 2016 on our new theatre production supported by Teater Avant Garden and Norsk kulturråd featuring once again Arild Vange, Kristin Lian Berg, Frode Eggen, Kyrre Laastad and Neil Davidson. Improvised excursions from and within the one act static drama The Marriner by Fernando Pessoa to follow. Performances in late October 2016 at Teater Avant Garden
DVELL will be performing our new work Improvisasjon Person at Teaterhuset Avant Garden March 27.- 29. The performances explore improvisation in the theatre using sound, scenography, text, storytelling and ourselves. The new work has been developed from Arild Vange’s book improvisasjon person, the writing of which was influenced by improvisation in literature and music. Vange’s texts respond to poems by Fernando Pessoa and are deeply invested in listening as a ground for poetry. This new theatre production is built around responses and provocations between performers and across the various artistic disciplines of the group. As well as offering a response to the radical propositions contained in Pessoa’s poetry concerning subjectivity and identity the performances of DVELL (which are never the same) ask, what can a theatre be for us, now?
DVELL performances build theatre out of relations. In the beginning the group (then comprising Neil Davidson, Arild Vange, Frode Eggen and Kyrre Laastad) made work that was more suited to a concert situation; sitting down together, focussing on sound and the relation between improvising music and text (and how that text might be written while being informed by improvisation). With the addition of Kristin Lian Berg’s improvised scenography the process has expanded into a more dynamic spatial and visual field bringing forth transitory sculptures, half remembered children’s games, impossible dialogues, collapsed architecture, abandoned noise gigs and myriad forms of translation and transformation. It might be theatre, but the aim is to assemble concrete situations without knowing what they will become or where they have come from. The work invites an engaged audience, one that becomes complicit with our questioning and also notices the alternative choices and paths that could have been taken as much as the ones that are.