Rit för ett sekulariserat land

Om botten i mig är botten i dig vad döljer sig då under livsträdets rot?
Rottrådar, livstrådar, synapser… Vilken sträng är din? Hur starka är dina band?
I evighetens djup där dödsrikets flod rinner ut i livets källa, där tvinnas, mäts och fördelas
existensen ur ödets garn. Ödesgudinnorna avgör människans lott utan rättvisa. I en rit i
och utanför tiden, i ett rum för andakt och kontemplation, i en musikalisk och visuell resa
som passerar ordets gränser, där tar händelserna vid i en värld av skönhet och smärta.
Föreställningen bygger på de nordiska myterna om de tre nornorna, Urd, Verdandi och
Skuld. De satt i evig tid djupt ner i underjorden vid Urds brunn, under asken Yggdrasil där
de vävde människornas och gudarnas livstrådar…

Maria af Klintberg, Elin Tisell, Viktoria Siwek
Micke Klingvall
Ljus och scenografi
Daniel Rudholm


Målgrupp: vuxen och ungdom
Speltid: 60 min
Spelplats: black box/stor scen
Gradäng: Om möjligt, publik på tre sidor

Spelyta: 8 x 8 m
Takhöjd: minst 5 m
Tekniska krav: 4 x 16A eller 2 x 32A. Rigg för hängning i taket.
Mörkläggning: Ja
Bygg/rivtid: 3 tim / 1 tim
Publikantal: Beror på lokal
Pris: 12.000 kr, traktamente, logi och resekostnader tillkommer.

Twine.Measure.Cut (Divado Kampa, May 25-30) In Dennis McSorley’s “Who Made Me?”, he stated that the Roman Catholic mass, with its costumes, chants, bells and incense, is pure theatre.  This production follows in this vein of ritual as theatre.  The artists themselves describe it as “a secular rite for modern mankind”.  This is an atmospheric creation, full of references to other rites and traditions.  The number three – the Fates, the Trinity, the Triple Goddess, to name a few – has long been associated with the sacred.  Here we have three women chanting and performing various rituals, nurturing each other, fighting, playing.  The central ritual involves smoothing and pulling a cord for different lengths and then cutting it with a scythe.  When the cut is made, the woman pulling the twine collapses, slowly revives, returns and another takes her place and repeats the rite.  The allusion to the Three Fates is obvious. Ritual is all about the repetition of specific actions dedicated to a sacred purpose, be it solicitation, appeasement, celebration or thanksgiving.  Repetition is critical to the success and power of the rite.  The music is hypnotic and the actors are completely focused on their songs and actions. This is critical as any deviation destroys the power of the ritual. This is not traditional theatre with an opening, a middle and an end.  There is no storyline, no progress. This is about creating an atmosphere, a sacred space.  And for me it worked.  I was taken out of time and space, mesmerized by the chanting and the choreographed movement, which was periodically shattered by sudden changes in mood and action.  This production is a challenge in many ways and I dare you to see it.  I would be very interested to hear your reactions.

Prag Fringe Festival 2015

“Det är som en underlig ritual, där åskådaren under en timme är transporterad till en annan värld.”

“En verkligen ovanlig upplevelse mellan teater och dröm.”

Jana Soprová, Prag Fringe Festival 2015

Twine.Measure.Cut. is bizarrely beautiful and striking in the extreme, a jewel of many facets. Billed as a “secular rite for modern mankind”, the show depicts the three Norns of Norse mythology as they measure and cut the threads of life.

The three performers on a dimly lit stage emit haunting harmonies and pounding rhythms as they chant and dance and struggle through their fateful work. The music, Bulgarian folk, chanted and howled in the old Norse of the Eddas, is definitely the focus of the show. The choreography, while fitting and at some points mesmerizing, is not quite as strong. The set design deserves a mention, an interactive metal frame suggesting the tree of life takes most of center stage and has simple twine placed at intervals for the fates to interact with. The only other props are water wells, candles, staves, and a scythe, giving the show an elemental, primal feel.

There really is no other word for the show aside from ritual; there is no story or progression as such, and the singing is all in a dead language. Instead, the audience is given a glimpse into an alien, yet somehow universal scene of old magic and new composition. Check it out at Divadlo Kampa until May 30.

Nick Hansen, Prag Fringe Festival 2015


Foto och video Daniel Rudholm

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  • twine.measure.cut 02
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