The Wedding, Oslo

The Wedding

The wedding, Oslo

A device performance based on The Wedding by Anton Tsjechov. Devising a performance should meet the need for young professionals to develop as an artist. In the process, various methods and traditions will meet, and form a dialectic between skills and the experimental mode. The project should also enable the young artists to say something about their own concerns, as well as engaging in others.
This coproduction is about a meeting of different backgrounds. Links between acting in foreign languages and themes of the play, such as pretensions, submission, and barriers of communication and understanding. Connection between form and content, a good basis for artistic achievement. The achieved skills will anchor the work pragmatically, and the themes and methodological challenges will open up to experiments.

Theme: A young couple marries, and their families and relatives meet. The families have various backgrounds, come from different social strata, and from different countries. Conflicts evolve around questions of identity, class, ethnicity, as well as interpretations of rituals, gifts, etc.The young artists will do work based on scenes, details, techniques, methods, language, and research. This work will influence and provide the content and performance.

Subject: The process of developing form, i.e. acting methods, parallel to the way a language develops. In parlance, as in acting, both skills and imagination play crucial parts.
Artistic coordination: Piotrek Cholodzinski
Dramaturgical concept Piotrek Cholodzinski
Partners: 6 academies


Extra performances will take place in Rome on 7-9 September and in Rabat (Morocco) in the first week of December.

An insight of the extra performance in Rome on September 7-9th:


  • Within the thematic context, questions to be explored;
  • The degree and limits of personal involvement with strangers
  • Power relations and difference.
  • Acting in different languages
  • Feelings associated with wedding, such as the trust, love, commitment, but also hate, competition, etc
  • The ideal qualities of marriage-bonds; patience, empathy, risk-taking. How does an artist respond to these, often obsolete, values? Are such qualities current in spectatorship?
  • Rituals and their functions in social structures. Transformations, creativity. How and when does performative acts have inherent qualities?
  • The logic of gifts


©2015 Platform European Theatre Academies | Supported by Europese Unie - Programma Creative Europe 2014-2020

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