The Nordic Dramaprize 2010

23-03 2010

The Nordic Drama Prize 2010 will go to the author of a children- or youth play which is the first time the prize is given to this category. The award will be handed out at the Nordic Theatre Days in Lund in Sweden 5.-8. may. The prize has been awarded biannually since 1992

The following plays are nominated:

DENMARK

6,PLRK by Line Mørkeby

 "6, P LR K" is a bid for new Danish youth theater, with a burning topic - challenge of the young people's sexual boundaries - it takes up the fight with the target audience, surfing fragmented reality and in a strong theatrelanguage the play insists on friendship as a bulwark against the crackdowns of society. The storytelling shows deep solidarity with the young, and although there are only two performers the play operates in a sophisticated mode with several narrative planes and creates space for both moving and funny emotional skids and  opportunities for love and caricature to displayattitudes and people in the environment. The playwright pretends never, that the theme is simple, or that a happy ending is guaranteed; to the last shocking scene of conflict the substance is intact.

Line Mørkeby is born in 1977 and studied Theatre and Art history at Copenhagen University. She trained at Arhus Theatre and has worked in theatres in Denmark.

ICELAND

Good evening by Áslaug Jónsdóttir

Áslaug Jónsdótir

Good evening had its premiere in autumn 2007 in Kúlan, the  children's stage at the Icelandic National Theater. The play became a huge success and received, , the Icelandic Theater Prize 2009 as the year's best children's show.  The constructionof the play is classical and switches between played and sung scenes. It is an original piece that plays in a very unique way with the language of the theater's three-dimensional context. When Daddy goes out to get mom the boy is home alone with his teddy bear and has to take care of both of them. But it is not so easy as the teddy needs to be comforted because he is afraid of uninvited guests; the pig, the scared Mouse, the Time Thieves, the Greedy dog and several other strange creatures.

Áslaug Jónsdóttir was born in 1963 and is  educated as a visual artist and has worked exstensivly as an illostrator of her own childrens´ books and in collaboration with others. She has received numerous prizes for her work and won the Cultural Export prize for the book Good Evening in 2005 as well as being nominated for the Nordic Childrens´book award in 2006.

FINLAND

 Ten sticks on a board by  Heini Junkkaala

Heini Junkkaala

Ten sticks on a board was premiered in 2008 at the  children and youth theater Ahaa-teatteri in Tampere. With the greatest tenderness and lucidity Ten sticks on a board tell the story of  little Anna, grandmother's favorite girl, who dares  to step out into the world of magic and drama. During the family's vacation with Grandma in the country Anna succeeds with the help of the game to ward off her parents' divorce. Mr Brackets helps Anna to understand that if one wants to come to a happy ending, one can not skip the difficult moments, but must see the conflict in the face. She has everything to lose, but wins after bravely venturing to play the role of the "protagonist" in the story - and in her own life. The theme of Heini Junkkaala piece is firmly rooted in today's world, but the story slips pleasantly off into the world of  game and magic. With a warm humor and recognizable characters, it skillfully builds up the structure so the resourceful language gives the play wings.

Heini Junkkaala (f.1975) is a playwright and dramaturge and lives in Helsinki. She completed master's in theater arts from the Theater Academy in spring 2006 and has studied the indigenous literature at the University of Helsinki. Junkkaala is primarily a playwright who works also as dramaturge and teaches dramaturgy and  playwriting. Since 2006, Junkkaala has written eight plays for Finnish theaters. Her latest work 'Bride of Christ " was  premiered at the Finnish National Theater in March 2010.

SWEDEN

If girls could kill av Åsa Lindholm

Asa Lindholm

Premiere at Young stage / East, Östgötateatern January 10, 2009.  With sharp humor, empathy and visionary black  Åsa Lindholm aptly portrays three young womens´ different strategies to cope and live with, and eventually free themselves from, a collective guilt. It is possible that the memory of the blame, that the three in childhood believe they have contributed to a boy's drowning, more perceived than real. Different interpretations provides yet more dimensions. If girls could kill  balances between laughter and precipices. The story develops well in reality as in the subconscious. Åsa Linderholm dramaturgically builds a maze which is closely knit together by the slightly elevated language and develops the theme into a rich history.

Åsa Lindholm was born in 1957 in southern Sweden, educated at the Dramatic Institute and in Lund and at Aarhus University Denmark. She works as a playwright, dramaturge and performer. She is currently the dramaturg at the Gothenburg City Theater and a freelance playwright. She has held assignments including the Bohusläns and Älvsborgs theaters, young scene / East, Uppsala City Theater, Dala Theater, Radio Theater, Theater Region Blekinge Kronoberg and Cannon Hall.

NORWAY

Simon´s story by Stig Amdam

Stig Amdam

Simon's story is the story of a young boy who is 19 years old and enlisted as a soldier in a Norwegian NATO force. But when he comes back home to Norway, it is hard for him to find his place, and the relationship between him and his girlfriend Eva becomes problematic. One night, he is quite unexpectedly arrested and thrown into jail, accused of a brutal assault on an elderly woman. He refuses, but police do not believe him. As a crime drama, through intense police questioning and realistic flashbacks,  Simon's real history is revealed.

At a time when a country like Norway is at war, sending troops to Afghanistan,  Simon's story, is both at the political  centre and a very relevant social drama. An important issue is society's responsibility toward those who are sent out to fight. The play relentlessly portrays the war's unintended consequences, and it demands profound questions about what war does to us. Through a convincing and realistic representation of both Simon and the people he meets when he comes home, the play shows us also how difficult it is for us in the peaceful Nordic countries to fully understand what being at war entails. The story is told in a driving tempo, the  heart rate is hig and nerves are raw.  Stig Amdam´s narrative creates effective theatre, while the story asks  important and challenging ethical questions.