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Æter
Drama. Skabt til opførelse på kunstmuseer, da scenografien fremstår som en selvstændig installation. Skuespillernes fysiske positioner og den retning, de taler i, er en væsentlig del af dramaet. 4 roller
87 pages
First published January 1, 2011
15 people want to read
About the author
Inger Christensen
73 books149 followersInger Christensen was born in Vejle, Denmark, in 1935. Initially she studied medicine, but then trained as a teacher and worked at the College of Art in Holbæk from 1963–64. Although she has also written a novel, stories, essays, radio plays, a drama and an opera libretto, Christensen is primarily known for her linguistically skilled and powerful poetry.
Christensen first became known to a wider audience with the volumes "Lys" (1962; Light) and "Græs" (1963; Grass), which are much influenced by the modernistic imagery of the 60s, and in which she is concerned with the location of the lyric "I" in relation to natural and culturally created reality. The flat, regular landscape of Denmark, its plants and animals, the beach, the sea, the snow-filled winters have determined the topography of many of her poems. Christensen has also been known internationally since the appearance of the long poem "Det" (1969; "it" 2006), a form of creative report on the merger of language and the world, which centres around the single word "it" and covers more than two hundred pages. The book clearly reveals the influence on Christensen's poetic work of such a range of authors as Lars Gustafsson, Noam Chomsky, Viggo Brøndal, R.D. Laing and Søren Kierkegaard. The analogy between the development of poetic language and the growth of life is, as in "Det", also the basic motif of the volume of poetry "Alfabet" (1981; Alphabet). In addition to the alphabet itself – which gives the book its title and provides a logical arrangement for its fourteen sections –, the structure is generated by the so-called Fibonacci series, in which every number consists of the sum of the preceding two. The composition reflects the theme exactly: while "Det" points to the story of creation and its "In the beginning was the Word", here the alphabet is a pointer to the "A and O" of the apocalypse.
The story of her life and work offers access to a poetry that is difficult and enigmatic, but simultaneously simple and elementary. Inger Christensen is one of the most reflecting, form-conscious poets of the present day, and her history of ideas also provides information on the paradox of lyric art; making legible through poetic means what must necessary remain illegible, and in this way wrestling a specific order from the universal labyrinth. Here the transitions between the poet and the essayist Christensen are fluid: just as lyrical figures and motifs give her essays a density of their own, figures of thought and configurations of ideas return as an organic component of the poems.
Christensen first became known to a wider audience with the volumes "Lys" (1962; Light) and "Græs" (1963; Grass), which are much influenced by the modernistic imagery of the 60s, and in which she is concerned with the location of the lyric "I" in relation to natural and culturally created reality. The flat, regular landscape of Denmark, its plants and animals, the beach, the sea, the snow-filled winters have determined the topography of many of her poems. Christensen has also been known internationally since the appearance of the long poem "Det" (1969; "it" 2006), a form of creative report on the merger of language and the world, which centres around the single word "it" and covers more than two hundred pages. The book clearly reveals the influence on Christensen's poetic work of such a range of authors as Lars Gustafsson, Noam Chomsky, Viggo Brøndal, R.D. Laing and Søren Kierkegaard. The analogy between the development of poetic language and the growth of life is, as in "Det", also the basic motif of the volume of poetry "Alfabet" (1981; Alphabet). In addition to the alphabet itself – which gives the book its title and provides a logical arrangement for its fourteen sections –, the structure is generated by the so-called Fibonacci series, in which every number consists of the sum of the preceding two. The composition reflects the theme exactly: while "Det" points to the story of creation and its "In the beginning was the Word", here the alphabet is a pointer to the "A and O" of the apocalypse.
The story of her life and work offers access to a poetry that is difficult and enigmatic, but simultaneously simple and elementary. Inger Christensen is one of the most reflecting, form-conscious poets of the present day, and her history of ideas also provides information on the paradox of lyric art; making legible through poetic means what must necessary remain illegible, and in this way wrestling a specific order from the universal labyrinth. Here the transitions between the poet and the essayist Christensen are fluid: just as lyrical figures and motifs give her essays a density of their own, figures of thought and configurations of ideas return as an organic component of the poems.
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Displaying 1 - 3 of 3 reviews
November 24, 2017
Æter skulle egentlig opleves som en rumlig installation, man da denne foregik i 1989 måtte jeg nøjes,
nøjes er dog er hårdt ord, tror mere bare jeg kan være taknemmelig for forlaget har valgt at udgive dette værk, udenom sine originale rammer.
dramaet er bygget op om nogle stramme dogmer om mono-, dia- og trilog, også i forhold til bemandingen på scenen, skal teksten passe til 4 personer.
teksten bliver sat i en apokalyptisk verden, der kunne være vores egen. Scenerne skifter imellem 3 forskellige 4 pers.-bemanding, Hvoraf den ene er på jorden og menneskelig, nr 2 er i skikkelse af guderne fra olympen og den 3 (som vi først møder i den sidste del) mefinder sig i en fremtid eller en fortid (for mig ubestemmeligt)
Teksten er ladet med poesi, selvfølgelig, men jeg blev gladeligt overrasket over fremdriften, de løse ender der bliver taget, sluppet, glemt og forfulgt af de forskellige karakterer.
Det er en tekst som kan læses meget forskelligt, jeg synes der er meget plads til én. selvom, den selvfølgelig finder sted i et ret specifikt univers (ift. sprog, billeder og objekter der bliver refereret til)
er det en forhindring for ens oplevelse, at man er så bevidst om at det egentlig er en installation? Hm, nej, fordi jeg synes teksten er ladet med så meget stof i sig selv. Egentlig ville jeg hellere gerne have set stykket, for at finde ud af hvordan de kunne gennemspille teksten, uden at ødelægge dens åbne landskab.
blev meget inspireret, igangsat og forundret.
tusind tak
nøjes er dog er hårdt ord, tror mere bare jeg kan være taknemmelig for forlaget har valgt at udgive dette værk, udenom sine originale rammer.
dramaet er bygget op om nogle stramme dogmer om mono-, dia- og trilog, også i forhold til bemandingen på scenen, skal teksten passe til 4 personer.
teksten bliver sat i en apokalyptisk verden, der kunne være vores egen. Scenerne skifter imellem 3 forskellige 4 pers.-bemanding, Hvoraf den ene er på jorden og menneskelig, nr 2 er i skikkelse af guderne fra olympen og den 3 (som vi først møder i den sidste del) mefinder sig i en fremtid eller en fortid (for mig ubestemmeligt)
Teksten er ladet med poesi, selvfølgelig, men jeg blev gladeligt overrasket over fremdriften, de løse ender der bliver taget, sluppet, glemt og forfulgt af de forskellige karakterer.
Det er en tekst som kan læses meget forskelligt, jeg synes der er meget plads til én. selvom, den selvfølgelig finder sted i et ret specifikt univers (ift. sprog, billeder og objekter der bliver refereret til)
er det en forhindring for ens oplevelse, at man er så bevidst om at det egentlig er en installation? Hm, nej, fordi jeg synes teksten er ladet med så meget stof i sig selv. Egentlig ville jeg hellere gerne have set stykket, for at finde ud af hvordan de kunne gennemspille teksten, uden at ødelægge dens åbne landskab.
blev meget inspireret, igangsat og forundret.
tusind tak
August 20, 2017
HEFAISTOS
Ilden var gået ud da jeg vågnede.
Asken var kold og da jeg rørte ved den,
Fløj de grå farver op som natsværmere.
Ilden var gået ud da jeg vågnede.
Asken var kold og da jeg rørte ved den,
Fløj de grå farver op som natsværmere.
January 3, 2016
Sær læsning, men hvad kan man ellers forvente af eksperimentalteater? Inger Christensens eminente og ekvilibristiske sprog er en fornøjelse - og måske forstod jeg også hvad det handlede om, omend det sære ved at læse teater ikke bliver mindre af at læse performanceteater uden regibemærkninger. Der er dog et diagram over positioner på scenen :)
Displaying 1 - 3 of 3 reviews