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| Lars Vik Produksjoner |
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| Besøksadresse: |
| Winthergt.9 |
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N-3921 Porsgrunn
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post@larsvik.no
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| A Short Cut To Lars Vik - and Fritjof Fomlesen
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Lars Vik born 1958, one of the founding members of Grenland Friteater, a well reputed norwegian
independent theatre company (www.grenlandfriteater.com), where he started out as an actor in 1978, since then he has been working with different aspects of work within an independent theatre company.
As an actor he is espacially recogniced as Fritjof Fomlensen aka Mr. Fumblebody. A comic solo-performance he is still touring in Norway and abroad.
Playwright: Lars is has during the years written several plays for stage and radio, and published five
books of drama.
His awardwinning play "Sneglegutten", "The Snailboy", was premiered in Skien 11th of March 2006, theplace that Ibsen was born. The play has been off and on touring schools and festivals ever since. Translated and produced in Germany in 08. Translated to Romanian and Swedish.
His family-audience play “The christmas according to Daniel” was a huge sucess at Trønderlag
Theater (in mid-norway) some years ago and “The Ballad of Bohm and Bøhmer” (a play for
children and young people) was produced at Det Åpne Teater in Oslo in co-production with
Grenland Friteater. Is since produced in Sweden and Germany. Translated to sweedish and spanish.
In 1993 Lars wrote a play about the birth and childhood of Henrik Ibsen in Skien called “Little Henrik”.
For more precise information about his plays, go to the link "Scenetekster". For electronic versions,
contact dramas.no or Lars at post@larsvik.no.
Lars has been working as a director since 1995 and directing plays at Grenland
Friteater, Riksteatret, Teater Ibsen and Torshovteatret. Spring 2004 he directed a international
co-production of PEER GYNT in Beijing. (Go to "Peer Gynt" for more info. ) And the summer of 05
he staged a huge production of HAMLET in Tønsberg, Norway produced by Teater Ibsen.
And in the late summer of 05 and 06 he directed a new "open-air opera bouffo" called ONLY THE
BIRDS KNOW in the streets of Porsgrunn. During the years Lars has been occupied by writing, directing and performing for children and young people.
Lars is also working as a teacher, giving work-shops in acting and clowning. During the last few years he has given classes in Cuba, Bogota and Hanoi (Viet Nam). And Scandinavia.
Mr Vik is a member of "The Friends of Keaton", Clowns International and Norwegian
Playwrigths Organization. (www.dramatiker.no)
Fritjof Fomlesen (Mr. Fumblebody):
”Fritjof Fomlesen” is a performance created and performed by Lars Vik. The character is inspired
by the great silent movie comedians Buster Keaton, Charlie Chaplin – and early Jaques
Tati. The performance is about an ordinary day with Fomlesen at his "Help Agency". The audience
will soon understand: Fomlesen is the one in need of help. Lars Vik combines physical slapstick
with vivid audience participation and hilarious improvisations. Lots of humor, visual actions and
crazy stunts.
"Fritjof Fomlesen" can be performed either in german, spanish or english. Or - in distant places -
Lars Vik will make use of a local interpreter (there is not much text.) The perfect audience is a
mixed one: children from 4-5 years and adults, 150–200 persons. Length: ca 50 minutes.
Fritjof Fomlesen - also called Mr. Fumblebody – has been on the road for some years now - and
there are no plans for stopping.
Norwegian broadcasting has produced a series of silent-movie episodes with Fritjof: "the most
entertaining helpless guy in Scandinavia." These episodes is sold to more than 15 countries.
The peformance has sine 1990 been performed in Norway, Denmark, Sweden, Finland, Iceland,
Germany. Tsjekkia, Russia and USA. And lately in Cuba and Colombia.
WHAT THE PRESS SAID ABOUT THE SHOW :
"Incredibly funny … a must for kids - and grown-ups." Tønsberg Blad, Norway
"...he also found the way to our hearts" Dagens Nyheter,Sweden
"... a very gifted and talented clown..." VG, Norway
"I`ve never seen kids more engaged in a show before" Fædrelandsvennen, Norway
"Yes! This is how childrens theatre should be" Helsingin Sanomat, Finland
"A most charming and moving Help Agency...." Daily Newspaper Iceland
"A superb show... incredibly funny... a universal and moving story about lonliness." Aarhus
Stiftstidende, Denmark
FOR BOOKING/FURTER INFORMATION ETC: GO TO MENU AND CLICK THE
LINK "BOOKING"
Want to see photos of Fomlesen? Go to the menu and click "Fotogalleri" and then "Fritjof Fomlesen".
TECHNICAL REQUIREMENTS:
The performance "Fritjof Fomlesen" should be performed indoor in a small theatre; either classic
italian stage or black-box. The stage should be appr. 8m wide, 5m deep. Overall general light.
Lars Vik brings all the props - you must only provide him a small old-fashioned office desk, plus an
ugly chair. And a smile.
THE NOBLE ART OF FALLING:
Lars is also doing a espescially designed practical lecture/work demonstration introducing the birth,
life and problems of Mr. Fomlesen. Usually this is both funny and entertaining. Length: appr. 90 min.
WORK–SHOP:
An intensive work-shop for young actors focusing on physical and vocal training. 1 - 3 days.
Sweaty. Can be adjusted to the participants needs and skill. For grown-ups OR young people.
"A comedian makes funny things,-
a good comedian makes things funny."
Buster Keaton (the master of falling)
****
EXTRAS:
In 2003 Grenland Friteater and Teater Ibsen co-produced Peer Gynt by Henrik Ibsen. Lars directed
this play that included 15 professional actors, 8 musicans, 40 amateurs extras and a whole bunch
of technicians. The performance took 6 hours, including transportation between three different
performing areas (by bus) and a full meal.
A CONVERSATION WITH GYNT-DIRECTOR VIK
by Dag Haddal
The sun is shining, Porsgrunn's river flows calmly south towards the sea, carrying some of the first
boats of the season. A smiling Lars Vik approaches on a bicycle. We are nearing the Grenland
premiere of the colossal collaboration Peer Gynt, and just 10 days before the opening, we sat down
for a chat with a surprisingly calm Lars Vik, who is the production's director. He has now lived with
this assignment for nearly a year and we shall soon see the result of his effort.
Do you sleep well at night?
-Oh yes. I have always slept like a baby. This spring with Peer Gynt has been no exception. But I
have awoken wide-eyed at a very early hour quite a few times now. And then the brain kicks into
gear, a line must be written down, a fresh idea developed, things I have to remember to say to the
actors, text strengthened, verses written, etc. So, I have been able
to glimpse an eclipse here and a sunrise there. But there has been very little time for partying.
Is this the first time you have worked on a Henrik Ibsen production?
-We had attempted Ibsen at Grenland Friteater with a stunt performance we called “Hotel Ibsen”,
where we focused on his last three works. Otherwise, I have written the play “Little Henrik”, a
requested performance at Ibsen's Venstop in Skien, in 92 and 94.
When one first presents an Ibsen work, Peer Gynt is certainly the most ambitious play one could
begin with. Do you think that is why it has never been produced in Telemark before?
-I honestly don't know why. One reason can be that the professional theatre resources in this area
haven't managed to come together until now. Peer Gynt is a complex work. Another reason could
of course be intimidation. The work has received a national epic status. Myth, expectation and
traditions surround it.
How did you begin to work with the text?
-I read it over and over again. Then I studied a few other adaptations, watched a NRK TV version a
few times and took a trip to Gålåvatn, a little village in the mountains where Peer Gynt is
performed every year. It can be inspiring to see how others have attacked the text, not least of all
to imagine how oneself would do things differently. Gynt is an enormous text. I have deleted some,
especially towards the end, but my starting point was that the whole work should be included. All
scenes, all characters, everything that is vital to the text.
Has your view of Ibsen changed after having worked so intensively with what many consider to be
Ibsen's main work?
-No. I have always had a sense of it. For me it is Ibsen's richest, most exciting work. It is full of
practical craziness, great humor and yet quite serious. And it is so visual. And sensual. And
dynamic. And beautiful. Yes, all of it…What more can a director ask for?
Was it difficult to free yourself from other Peer Gynt interpretations and find your way of pulling it
all together?
-There I made a decision very early. We tried to treat the text as “new”. In other words as a
completely fresh, virgin work which was written by a contemporary Norwegian playwright living in
Italy. I even wrote a dramatic outline. The thought in the back of my head was of course to get rid
of everything that connects itself to such a known work.
In this production you are working with different theatre milieus. It is not often that a regional
theatre company (Teater Ibsen) works on a collaboration with a independent group (Grenland
Friteater) as an equal partner. Any thoughts about this?
-I was a bit unsure myself as to how this would play out. But it has gone beyond all expectations. It
probably is due to a fortunate mix of good planning, dual sided respect, good chemistry,
cooperation on all levels and perhaps most important of all, an unbreakable desire to accomplish
this as a partnership. A kind of professional, voluntary, communal work.
With two different actors portraying Peer Gynt, it must be difficult to develop the role.
-I think the audience will be the judge of that. The proof of the pudding is in the eating.
*
THE YEAR AFTER:
What's the difference between the Chinese and the Norwegian version from last year?
- The Beijing version of Peer Gynt is something completely different from the Norwegian version,
but at the same time its very similar. For me it's a great challenge to incorporate the Chinese cast
in the production in a smooth way. I am really looking forward to work with the Chinese actors,
dancers, acrobats, musicans etc. This will be a co-production in the true meaning of the word. I
have cut some text and dropped a few minor scenes, but the whole story is there. All the
characters. All the ideas. The poetry. The humour. I hope.
To you, what is Peer Gynt about?
- It's a story about travel, escape, confrontation. Its about the search for the meaning of life, but it
is also a love story I think. Its inspiring – and challenging - to present this great “norwegian
national anthem” to the chinese audience.
-And Henrik Ibsen?
- I hope he would enjoy it. In fact I think he will.
(Skien, june 03 and january 04)
I was asked to write "a short summary of the plot" for the chineese audience, according to
our production This is what it looks like at the moment:
PEER GYNT by Henrik Ibsen: SCENE BY SCENE
SCENE 1
At Peer Gynt's and his mother Aase's mountain farm. Peer looses himself in daydreams and
boasting. He tells of his adventures, including among other things, a wild ride on a reindeer. They
hear music from a neighbouring farm where there are preparations for a wedding.
SCENE 2
The grand wedding feast at the prosperous Hægstad Farm. The groom is not allowed in to the
bride. Peer arrives and is challenged by the guests. When Solveig rejects Peer, he steals off with
the bride
SCENE 3
Peer flees to the forest with the bride, but soon leaves her behind. Solveig visits Peer's mother.
Solveig meets Peer again, but he must flee from the mob.
SCENE 4
During his flight Peer is taken by surprise by three amorous Saeter-Girls and The Green-clad
Woman, who tempt him into the troll's mountain. The Old Man and Woman of the Dovre Mountain
want to transform Peer into a troll before he may marry The Green-clad Daughter. Peer is saved
by what the trolls fear most, the rising sun.
SCENE 5
Peer is haunted by a voice in the dark. The Boyg (The Great Obstacle) advices Peer to step aside.
SCENE 6
Mother Aase has lost everything and has ended up at the old people's home. She is waiting in vain,
worrying if she will ever see her only son again.
In the deep forest Peer is surprised by Solveig, who to his delight, declares her love. The Green-
clad Woman arrives with a huge boy (An Ugly Brat) who claims he is their son. Peer once again
leaves Solveig, asking that she waits for him.
SCENE 7
Peer visits mother Aase at the old people's home. He tells his last great lie; that they will both go to
heaven and receive a magnificent reception. Mother Aase dies. Peer decides to leave the country.
INTERMISSION
SCENE 8
Many years later at an international bar in China. Peer, now a successful businessman engaged in
shady enterprises, entertains his European friends. The four men seize Peer's yacht, but it
explodes and sinks.
SCENE 9
Peer drifts through the desert and is surprised by Anitra and her harem of dancers. Peer is
satisfied at being hailed as a prophet and surrounded by beautiful women, but they manage to rob
him of his last possessions.
SCENE 10
Peer bumps into the unpredictable, mad professor Begriffenfeldt who is the director of a travelling
madhouse. Peer is proclaimed the emperor – upon the “basis of self” and is given an honorary
membership of the madhouse.
SCENE 11
Many years later. Peer is on his way home to Norway in a sailing ship when he is confronted by A
Mysterious Passenger. The ship is lost in a storm, but Peer saves himself in a small boat. He
drowns the cook in order to survive. The passenger comes back, he wants Peer's corpse in order
to find out where dreams have their source.
SCENE 12
Peer arrives home to a barren and deserted landscape. He witnesses a funeral and is thereafter
confronted by all those who he has abandoned and betrayed throughout his life. The Button-
moulder wants to remould Peer. A Lean Person wants him to account for his wasted life. No one will
help Peer. When all hope seems to be gone, he meets Solveig again.
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