In the fall played Lotte Andersen teaterrolle, where both she and the audience got a short circuit along the way.
the Actress Lotte Andersen has more than 35 years of experience in the Danish skuespilbranche, and in the recent past, the danes have seen her in the role of the ministry of justice wife of DR’s “When the dust has settled” and as inspector in the series “Sommerdahl” on TV2 Charlie.
But in spite of the many years of experience put a cross-border and absurd teaterrolle recently Lotte Andersen on the sample.
What role is your best?
– I am usually not and stores on the roles. I will probably always highlight the role, as I recently have played, and it was in a show at Husets Teater in Copenhagen in the autumn. It was a big challenge.
– the Performance was called “Folkekongen” and focused on the Trump, and it’s written by the austrian playwright Elfriede Jelinek, who writes the theater without roles. There is nothing “so says Sonja, and so says Ulrik”. It is just one long 50 pages of stream of thoughts.
– To make rarely such a thing in Denmark, because it is fairly long, but the instructor is Life, Helm, felt that we should try.
How did you get the role?
– Life Helm, and I have previously worked with a reading of some japanese absurd theatre, which was also impossible to understand with a dagklar rational brain. So I known Life, and we thought both it was exciting to work with a text that was so difficult.
What was the hardest thing about the role?
– the Piece is written as one long frustration that Trump was elected president. We were three on the stage, so we divided the piece up in three different voices, even if there was only written to one vote in the manuscript. In addition, we cut off the down from five to two hours. I was given the role as the author’s alter ego.
– I had to learn all this text, which, in principle, not immediately gave no opinion. One could well understand, that it was a long criticism of Trump, but like in a dream, where nothing is recognisable, and yet not, and cut the story as soon as you thought you understood it, and became something else. The piece played the entire time kispus with the audience’s brains and ability to understand.
At a time, it was both me and the audience a short circuit, where he gave up trying to understand the linear narrative, and so we moved to another state after the logic had collapsed. But in the state there was still a form of opinion which flowed under all the words.
What was the coolest at the role?
– I think it was really cool to notice how the audience in the beginning sat with raised eyebrows and thought: “it Becomes about this?”. But after a very short time I could feel, we got them trapped into the here another way to experience the piece on.
It was a very big eye-opening experience for me, something that immediately seemed so difficult to access, could have a completely different door into it.
Is there a particular scene you love?
the Piece began with, that we sat out in the audience, and then we began to just talk with people without that they knew, that now was the crunch started. The lights went down. It was a right cross just to get started with to speak.
– In the first twenty minutes I talked, uninterrupted. When I was done, I lay and rummaged around on the floor with the american flag. The twenty minutes in which the audience like to understand what it was for something they had bought a ticket, I think was fun. To feel the atmosphere.
What has that role meant for your career?
– I don’t know if it meant anything to my career, but it has meant something to me. I discovered some talents in myself. When I read the script, I had a very hard time to see how the hell it had to be solved. We had no conventional solutions to sit up. It was very bare to be in the setup and insist on it, when in the beginning it was quite kuk-kuk.
– But then we came still forward to a kind of logic and sense. It taught me to be fearless and dare to trust that this frenzy in a way or another enough to make sense at a time.
/ritzau/
