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Skromlehjulet puppet theater developped the piece “Et spøkelse” “A ghost” during the winter and spring as they stayed in the school.

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Om Skromlehjulet Figurteater:

Skromlehjulet Figurteater er en fri teatergruppe med tilhold i Stavanger. Vi har jobbet med dukketeater og figurteater produksjoner siden 1996, og har årlig produsert nye forestillinger. Skromlehjulet har siden starten vist sine forestillinger i Stavanger Kulturhus, og har hatt omfattende turnevirksomhet i distriktet gjennom Den Kulturelle Skolesekken, Folkeakademiet, Rogaland Fylkeskommune. Skromlehjulet har også vist sine forestillinger ved flere internasjonale festivaler for dukketeater.
Medvirkende i Skromlehjulet Figurteater er:
Kjersti Iversen, skuespiller/ dukkespiller, f. 1967.

Kjell Helgeland, instruktør, f. 1960
Roque Jiménez Palacios, dukkespiller, f. 1977
Skromlehjulet Figurteater arbeider med et visuelt teateruttrykk hvor skuespill og dukkeanimasjon sammen med lys, lyd, musikk og bilder er det sentrale. Vi tar ofte utgangspunkt i en kjent tekst som vi dramatiserer og omskaper til teater.

and

i/o/lab
Senter for future art in Rogaland

Hege Tapio i/o/lab and Tapio Makela  M.A.R.I.N. organized part of the workshop in Flørli august 3-6 . After having stayed in Flørli the artists, from Canada, Brasil, Austria, Finland and Norway travelled further on to Øland in Sweden where the workshop will carry on.

foto: Abtffn

More about the workshop: M.A.R.I.N._CFP_2011

From Håheller ©Synnøve Spangelo foto

“Slowly, but surely, deconstruction replaces life that has been lived.
And we can imagine what has passed , and what could have been
if people still cared for the places.” SS

“Sakte, men sikkert tek forfallet over etter det levde livet.
Og me kan drøyme om det som var, og det som kunne vore,
om menneska enno brydde seg om plassane.”

From Håheller ©Synnøve Spangelo foto

Håheller

Eg sov på stranda under teltet
av målingsplast. Og torde ikkje
gå inn i huset før daggry.
For der var stilla etter folka
som hadde ete, krangla,
elska, vorte fødd, levd og døydd,
og sjeldan har nokon kome sidan
og laga lyd.

Der var rullesteinsmurer langs
heile sjøkanta, og bugnande
frukthagar. Eg tok ikkje meir enn
eitt par moreller,
for  det var ikkje mitt,
og om eg hadde ramla ner frå
den morkne stigen eller,
då eg var inne i huset, trødd
gjennom loftsgolvet, så ville ingen
ha merka noko..

Så frydefullt og så skremande det er,
å kjenna så klårt at livet
kviler berre på deg, der du står åleine

i dei døde si fråflytta verd.Då eg hadde komen derifrå,
trefte eg ei dame som fortalde at
dei aldri plukka bær på Håheller,
der var for mykje orm.
Det er eg glad eg ikke visste.

Håheller

I slept under a cover
made of  industrial plastic.
And did’nt dare to enter  the house until dawn.
For there were the silence after the ones
who had  eaten, quarreled,
loved, been born, lived and died,
and seldom had anyone come after
and made any sound.

There were  walls of boulders along the shore,
and bulging orchards. I did’nt take more than
a couple of cherries,
for they were not mine, and if  I’d fell down from
the rotten ladder or,
when I was inside the house,
stepped through the attic floor,
no one would have noticed.
How  joyful and how terrifying it is,

to feel so heavily that life
clings only to you, where you stand alone
in the  abandoned world of the deceased.

When I was back from there,
I met a  woman who told me they never
went for picking berries at Håheller ,
there were too many  snakes.
I’m happy I did’nt know that .

S.S

in residency in august 2008.

Artist Statement: Gitte Villesen

Quote from Science Fiction writer Ursula Le Guin’s book  “The Left Hand of Darkness” page one:
“The story is not all mine, nor told by me alone. Indeed I am not sure whose story it is; you can judge better…”
and later on the same page:
” I’ll make my report as if I told a story, for I was taught as a child on my home-world that Truth is a matter of the imagination. The soundest fact may fail or prevail in the style of its telling…”

Several of my projects deal with people who passionately live a life on the edge of what is considered normal. Between their reflections on their life situation, and my own thoughts, I try to touch what the norm is and how it becomes constructed.
Another topic almost always present in my work is the essential qualities of meeting with another person, the intimacy and experience of ”presence” that accompany sucha  meeting. What does it mean to be seen and make oneself seen? What is it you are offered when another person invites you into their life and shares their presence with you.
What are the responsibilities and what power does it give me to be the one who represents and tells someone’s story? What does it mean to have a voice and to use it? (As in the work “I Capture You. You Capture Me.”)

When some works deals with people who either are on the edge of what is considered normal or maybe on the edge of having a voice in society, other works take up the same issues, but from the perspective of those who actively create norms (as architect Margarete Schlütte Lihotzky in “Kitchen etc.”), or, determine standards within the context of an institution or a discipline; for example, Authentic. Objective. Subjective.” Or which rules does one follow?” dealt with how, in an institutional context, standards for evaluating historical evidence are determined.

Mostly my work consist of a combination of one or more elements; video, text, still images, photographs, posters, folders, photocopies, a vitrine (display case), and/or other objects. The videos are often video installations with from one to three projections.

At the moment I am working on a catalogue, which has the working title ”Personal passion and the construction of norms and values”. If it has to be short, this sums up my project quite well.

Press:
Stavanger Aftenblad
Charente Libre

www.gigacircus.net