Σβήνει το φως από τα μάτια μου κι όλα όσα έζησα μπρος μου περνάνε.
Στέκομαι εδώ στον τελευταίο σταθμό με όλα όσα αγάπησα και πήγαν χαμένα.
Δε μετανιώνω πια, όλα ή τίποτα, δάσος και ερημιά, αυτή ήταν η ψυχή μου, πάει πια.
Σαν νοσταλγώ πουλιά με παν μακριά, πόνο δεν νιώθω πια μόνο θυμάμαι.
Πάντα έλεγες πως η ζωή είν’ στιγμές, κύμα που σκάει σ’ ακτές, κερί που λιώνει.
Δε μετανιώνω πια όλα ή τίποτα, δάσος και ερημιά, αυτή ήταν η ψυχή μου, πάει πια.
Δεν κόβεται στα δύο η ζωή είναι ήλιος και μαζί βροχή κι ούτε για μια αιωνιότητα δεν θ’ άλλαζα μια μέρα απ’ αυτή.
Δεν κόβεται στα δύο η ζωή είναι κόλαση, παράδεισος μαζί κι αυτά που έζησα είτε άσχημα, είτε όμορφα ήσαν εγώ κι εσύ.
Δεν κόβεται στα δύο η ζωή είναι ήλιος και βροχή μαζί.
Πρεμιέρα και πάλι για την Ομάδα 33 την ερχόμενη Άνοιξη.
Η Ομάδα 33 ετοιμάζεται για τα επόμενα βήματα της... Την Άνοιξη θα έχουμε πρεμιέρα, ενώ παράλληλα συζητάμε ήδη τις επομενες συμμετοχές μας σε φεστιβάλ και ενδιαφέροντα projects...Μείνετε συντονισμένοι!
Ομάδα 33
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Omada 33 is getting ready for their next steps... In Spring they are having their premiere, while they are already looking into their participation to festivals and interesting projects...Stay tuned!
Την Ομάδα 33 πλαισιώνει πλέον η μουσικός και περφόρμερ Tamara Friebel που ζει κι εργάζεται στη Βιέννη. Η Tamara συνθέτει μουσικές και τραγούδια ειδικά για την παράσταση, εμπνευσμένα από τις τρεις ιστορίες της παράστασης αλλά και την ιστορία των δύο πρωταγωνιστριών. Το πρώτο τραγούδι είναι ήδη έτοιμο και δεν μένει παρά η τελική ηχογράφηση. Αδημονούμε...
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Tamara Friebel, a music composer and performer who lives and works in Vienna has joined Omada 33. She is writing music for the performance and has already finished the first song. The final recording is still pending and we are looking forward to it!
Μια γυναίκα κλείνει τη βαλίτσα της. Αφήνει ένα φάκελο πάνω στο τραπέζι. Πηγαίνει στο τηλέφωνο. Αλλάζει γνώμη. Βγαίνει από το δωμάτιο με τη βαλίτσα της. Χτυπάει το τηλέφωνο στο άδειο δωμάτιο.... Η γυναίκα στον άδειο σταθμό του τρένου με τη βαλίτσα δίπλα της. Στέκεται ακίνητη και κοιτάζει βουβή τις ράγες του τρένου.... Αυτή είναι η κοινή αφετηρία για τις ιστορίες τριών διαφορετικών γυναικών στη Νορβηγία, Γερμανία και Ρωσία. Η Νόρα, η Ιουδήθ και η Ειρήνα μοιράζονται τις ιστορίες τους με την Χριστίνα, την Άννα και την Όλια. Τρεις ιστορίες, μέσα από τις οποίες αναμετριώνται οι δύο πρωταγωνίστριες σήμερα με την απόφαση που καλούνται να πάρουν ενώ στέκονται σιωπηλές στο σταθμό του τρένου λίγο πριν το τέλος. Τρεις ιστορίες για τη στιγμή που μια γυναίκα αντικρίζει την αλήθεια - την αλήθεια για τη ζωή της, τους αγαπημένους της, τα όνειρά της και τον ίδιο της τον εαυτό.
Α woman closes her suitcase. She places an envelope on the table. She walks to the telephone. She changes her mind. She leaves the room taking her suitcase. The phone rings persistently in the empty room. The woman is now standing at the empty train station. This is the common beginning to three different stories in Norway, Germany and Russia. These are the three stories through which the two leading actresses, Maria and Faidra are telling their own story just as they are standing at the railway station facing their own dilemma. Three stories for the moment a woman faces the truth - the truth regarding her life, her loved ones, her dreams, her homeland, herself.
Η Συνέντευξη της Ομάδας 33 στο Εντός Φύλου της Εφημεριδας Αυγή Omada 33's interview for the Newspaper Avgi
Η ομάδα 33 (Φαίδρα Χατζηκωσταντή, Μαρία Δερεμπέ, Δέσποινα Μαλλή και Ευρώπη Θωμοπούλου) μίλησε στην Αλίκη Κοσυφολόγου από το Εντός Φύλου της εφημερίδας Αυγή για όλα εκείνα που μας απασχολούν σήμερα και οδήγησαν στην παράσταση Εξοδος Κινδύνου.
Ολοκληρη η συνέντευξη της Ομάδας 33, στα παρακάτω links:
Διαβάστε τη συνέντευξη της Ομάδας 33 στη Μαρία Κυριάκη και την ιστοσελίδα Επι Σκηνής
Μια ομάδα φίλων με πολλαπλές καλλιτεχνικές ιδιότητες, που αποφάσισαν να αρθρώσουν την δική τους φωνή μιλώντας «από Σκηνής» για την δύσκολη και σκοτεινή εποχή μας, η οποία όμως αφυπνίζει τις δυναμικές κι ενδυναμώνει τις αντιστάσεις. Μιλάμε μαζί τους για την ομάδα τους, την παράσταση και τις προσδοκίες τους.
Η Εξοδος Κινδύνου παρουσιάστηκε από την Ομάδα 33 στο πλαίσιο του Δεκαπενθήμερου Σύγχρονης Θεατρικής Δημιουργίας του Φεστιβάλ των Αισχυλείων το Σάββατο 14 Ιουλίου 2012.
Nora's crime resembles closely the forgery efforts of a Norwegian woman named Laura Kieler. Already a married man, Ibsen met Kieler in 1871 and called her his "skylark," a pet name that Torvald uses to refer to his wife in the play. Ibsen and Kieler were acquainted for years before she became involved in events that resembled those depicted inA Doll's House. Laura Kieler had been advised that time spent in a warmer climate would save her husband's life. They could not afford a trip south, but Kieler hesitated to broach the subject, since her husband became hysterical at the mention of money. Secretly, with the help of a friend, she secured a loan to finance a trip to Italy. When the loan fell due two years later, however, neither she nor the friend could pay it. Ibsen, unaware at the time of the full circumstances, declined to help her publish an inferior manuscript, which she had hoped would raise money to pay the loan. The day she received his refusal, Kieler forged a check. The crime was soon discovered. She told her husband everything, but he spurned her as a criminal and an unfit mother. Their marriage (and her health) subsequently foundered. He did what he could to take the children away from her, and she suffered a nervous breakdown. Her husband had Kieler committed to a public asylum, but she was released a month later. She pleaded with him to take her back for the sake of the children, and he accepted her proposal unwillingly
The Reformation, or separation of the Protestant and Catholic churches begun by Martin Luther in 1517, spread to Norway later in the century. As Protestantism grew in popularity, it spurred the legalization of divorce, which had been more tightly controlled under the Catholic Church. Bigamy, adultery, desertion, and impotence became accepted as valid reasons for a couple to separate. This state of affairs changed in 1909, when the country adopted a new divorce law. More relaxed than the earlier law, it permitted divorce in the case of mutual consent and after a period of separation of at least one year. But while divorce became easier to obtain, it was still frowned upon. The proceedings cost little enough; a poor Norwegian could obtain a divorce almost free of charge. But they were publicized as little as possible; newspapers were forbidden to report divorce cases. In Ibsen's play the Helmers, who are the drama's central characters, live under the older divorce law. Even if the action had been set after 1909, however, no mutual consent to the dissolution of the marriage existed, since Nora moves out of the house against her husband's wishes.
Ibsen consistently asserted that A Doll's House examined issues facing humanity rather than women in particular. Even so, the women's movement embraced him as one of the leading champions of its causes after the publication of the play. Many critics have observed that, regardless of Ibsen's claims, no playwright could have created such an assertive, likable heroine without feeling some sympathy for the challenges facing women at the time.
Camilla Collett became Norway's most celebrated feminist. Her groundbreaking novel, The District Governor's Daughters (1854-55), protested the notion that marriage was the all-encompassing goal of a woman's existence. Collett referred to the novel as "the long-suppressed cry from my heart," and it echoed the sentiments of many other women throughout Norway as well (Collett, p. 13). In Collett's view, women had to be educated in order to regard themselves in a new way. She felt sure that once they had more education and greater economic freedom, political privileges would soon follow. At the time, a woman's economic status was tied to her husband, who, for example, had to formally approve any loans for the household. If a woman tried to earn her own money, as Nora and Kristine do in Ibsen's play, her employment opportunities were usually limited to low-paying jobs such as needlepoint, teaching, and menial clerical positions.
The second half of the nineteenth century did witness many changes for women in Norway. In 1854 women received the same inheritance rights as men, and in 1863 the government declared that unmarried women over age twenty-five were legally competent. Educational opportunities expanded in 1882 when women gained the right to take the exams necessary for admittance to the university, although they had to wait until 1884 for the right to earn a university degree. The Women's Rights League was founded in the same year, following the controversy that would result from the performance of A Doll's House in 1879. A decade after the play, in 1889, Norway modified the marriage vows, in which a wife professed subservience to her husband, that had been in place since 1688. Finally, more than twenty years after Ibsen's play appeared, women won limited rights to vote in municipal elections (1901); it would take another dozen years for them to win universal suffrage.
The scene in A Doll's House where Nora dances the Italian tarantella is one of the most famous in the play. Her husband observes, "But Nora darling, you dance as if your life were at stake" (Ibsen, A Doll's House, p. 92). He tells her to slow down, but she cannot-she is caught up in the sensual, ecstatic dance. Full of movement, the tarentella involves raising one's arms, running, hopping, whirling, and swinging from side to side.
Though we only see Nora dance alone, the tarantella is a social dance meant for two couples, or even for a long row of men and women. Traditionally the male partner uses two pairs of castanets, while the woman holds a tambourine in her right hand and beats on it with the lower part of her left palm. These instruments are used to keep time and to add to the excitement as the pace of the dance quickens, especially at its conclusion.
The dance itself has a curious history. In sixteenth- and seventeenth-century Italy, the bite of the Apulian spider, also known as the Lycosa tarentula or common tarantula, was popularly but mistakenly thought to cause a nervous disease. This sickness, called tarantism, was allegedly marked by hysteria and a mania for dancing. The wild motions of the tarantella dance, which was named after the disease, were thought to be caused by the spider bite.
