DIRECTOR FORCES IRANIAN ACTRESS TO SING IRANIAN SONG DURING TABLE READ
REGISSÖREN TVINGADE IRANSK SKÅDESPELERSKA ATT SJUNGA IRANSK SÅNG UNDER KOLLATIONERING
ACTRESS PRODUCES ALIENATION WITHIN ENSEMBLE TO HELP DIRECTOR
SKÅDESPELERSKA ALIENERAR HELA ENSEMBLEN
- FÖR ATT HJÄLPA REGISSÖREN
DIRECTOR FORCES ACTRESSES TO COMPLIMENT EACH OTHER IN IMPROVISATION
REGISSÖREN TVINGADE SKÅDESPELERSKOR ATT GE VARANDRA KOMPLIMANGER UNDER IMPROVISATION
2 months after accomplishing
their fictitious rehearsal process
around A STREETCAR NAMED DESIRE,
Sarah and Johannes made an interview
to analyse the work.
They met in Stockholm,
in an actual studio,
where they would have been
conducting the study
if not for an all-encompassing pandemic
that hit in March 2020.
*
In a first attempt to compress
the vast amount of digital documentation
from the study,
Johannes had formulated a number of made up
TABLOID FRONT PAGES,
“covering” single events in the rehearsal process.
*
These “headlines” were then used to prompt
the conversation/structure the interview.
During the recording, Sarah is aware of the overall format,
but doesn´t know the content of the singular prompts.
She had the freedom of answering in the language
of her choice,
so subtitles are provided in the versions below.
*
The original interview was 2h18 long.
It has been cut by over half its length now,
with one edited version made by Sarah,
and another one made by Johannes.
The editing work was done parallel
and accomplished on the same day,
so that Sarah and Johannes would not be aware
of the choices the other makes.
There is overlap in the selection of material,
but this method was chosen
to ensure the integrity
of the actor´s and the director´s different
perspectives.
*
On a content level,
the guiding star during the interview was
the research question of Johannes´ PhD-project at the time:
What are models of consent in an actor-director-relation ?
Showing singular perspectives in regards to that
has also been the criteria for editing.
*
The visual set-up and editing style
is Sarah´s and Johannes´ individual interpretation
of the performative TV-interviews
German filmmaker Alexander Kluge proposes
in a Brechtian tradition.
The study itself as well as this analysis
are haunted by Danish director Lars von Trier.
His ghostly presence accompanies both versions
in the form of classical music:
4 pieces by Vivaldi and Pergolesi
of the kind von Trier uses in DOGVILLE.
Below are the edited versions WITHOUT subtitles
and some examples of "headlines".
2 months after accomplishing
their fictitious rehearsal process
around A STREETCAR NAMED DESIRE,
Sarah and Johannes made an interview
to analyse the work.
They met in Stockholm,
in an actual rehearsal space;
the place where they
would have been conducting the study
if not for the pandemic
that hit in March 2020.
*
In a first attempt to compress
the vast amount of digital documentation
from the study,
Johannes had formulated a number of made up
TABLOID FRONT PAGES,
“covering” single events in the rehearsal process.
DIRECTOR HAS DRINKS WITH ACTORS TO GET CLUES FROM THEIR BIOGRAPHY TO EXPLOIT IN REHEARSALS
REGISSÖR SÖP TILLSAMMANS MED SKÅDESPELARE
SKAFFADE SIG LEDTRÅDAR
EXPLOATERADE DERAS VERKLIGA LIV FÖR TEATERPJÄS