Kirsten Dehlholm (born 5 April 1945) is a Danish artist and artistic theatre director. She has created over 30 presentations combining scenography with performance art, employing a wide variety of techniques, media and materials. [1]
Kirsten Dehlholm (born 5 April 1945) is a Danish artist and artistic theatre director. She has created over 30 presentations combining scenography with performance art, employing a wide variety of techniques, media and materials. [1]
Born in Vejle, after matriculating from high school Dehlholm studied textile arts at the Werkkunstschule (Arts and Crafts School) in Krefeld, Germany. She spent the next three years at Kunsthåndværkerskolen in Copenhagen. In 1969, she married the writer Otto Sigvaldi who sold his books from a pram in central Copenhagen dressed in the fanciful costumes she had designed. [1]
In the 1970s, Dehlholm worked as a scenographer for the Rimfaxe theatre group. In 1977, together with Per Flink Basse, she founded Billedstofteatret, a theatrical collective which functioned until 1985. She developed new concepts for performance art, creating scenarios in which people formed artistic tableaux accompanied by music or sound effects. Her creations included Gyldne vinger og blå løfter (Golden Wings and Blue Promises, Charlottenborg, 1977) and Påtrængende slægtninge(Instrusive Relatives), a live exhibit presented at Ny Carlsberg Glyptotek in 1979. [1]
In 1985, Dehlholm formed the Hotel Pro Forma theatre group which she has directed ever since. She has created some 30 performances combining art with theatrical presentation drawing on landscape painting and modern, minimalistic design. [2] Some of her works include mirrored images and optical illusions. Her Terra Australia Incognita (National Museum, 1989) inspired by the voyages of discovery put the viewer in the unusual position of gaining a bird's eye view of the actors lying below. Her Hvorfor blir det nat, mor? (Why Does it night come mother, Aarhus City Hall, 1989) where the audience was standing on balconies looking down on the white floor where the performers performed. [1] Her collaboration with architects, writers and composers has given her a reputation as an important player in the renewal of theatrical scenography. [3] It was her ability to develop experimental installations combining existential themes such as belief, identity and war which led to her being awarded the Thorvalden Medal in 2013. She was commended for her consistently innovative artistic creations and for her strong sense of scenic confrontation. [4] In 2015 she was awarded with the distinguished Artist Award for the Performing Arts (ISPA) as well as the Danish Honorary Reumert Award of the Year.
In 1994, she was awarded the Eckersberg Medal and, in 2013, the Thorvaldsen Medal. [3] In 2015 she was awarded the Reumert prize of honour.
Scenic design is the creation of theatrical, as well as film or television scenery. Scenic designers come from a variety of artistic backgrounds, but in recent years, are mostly trained professionals, holding B.F.A. or M.F.A. degrees in theatre arts. Scenic designers create sets and scenery that aim to support the overall artistic goals of the production. There has been some consideration that scenic design is also production design; however, it is generally considered to be a part of the visual production of a film or television.
Scenography is a practice of crafting stage environments or atmospheres. In the contemporary English usage, scenography is the combination of technological and material stagecrafts to represent, enact, and produce a sense of place in performance. While inclusive of the techniques of scenic design and set design, scenography is a holistic approach to the study and practice of all aspects of design in performance.
Held in Prague once every fourth years since 1967, the Prague Quadrennial of Performance Design and Space or Prague Quadrennial is the world's largest event in the field of scenography, consisting of a competitive presentation of contemporary work in a variety of performance design disciplines and genres including costume, stage, lighting, sound design, and theatre architecture for dance, opera, drama, site-specific, multi-media performances, and performance art.
Det Ny Teater is an established theatre in Copenhagen, Denmark, first opened in 1908. It is based in a building which spans a passage between Vesterbrogade and Gammel Kongevej in Copenhagen's theatre district on the border between Vesterbro and Frederiksberg.
Josef Svoboda was a Czech artist and scenic designer. He was a production designer and director, known for Amadey (1984), Laterna Magika: Puzzles (1996) and Laterna Magika: Trap (1999).
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Katrina Jane Mitchell is an English theatre director.
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The Reumert Award is an annual Danish awards ceremony to recognize excellence in theatre achievements in Denmark. The award was founded by the Bikuben Foundation in 1998, and has been handed annually since then. There are 16 award categories as well as 10 talent awards. A jury of ten specialists in theatre selects the recipients, who receive a statuette and a prize. As of 2016, the recipients also receive an amount of money. The recipients of the Reumert Award of Honour receive DKK 200,000, the recipients of the Talent Prize receive DKK 35,000 and all other categories-recipients receive DKK 40,000. The Reumert prize is named after the Danish actor Poul Reumert (1883–1968).
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Kirsten Olesen is a Danish actress who since 1979 has been with Copenhagen's Royal Danish Theatre. In Denmark, she is known above all for taking the part of Agnes, a housemaid, in the popular television series Matador (1978–1982). Internationally, she has starred in the title role of Lars von Trier's Medea (1988).
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Christian Lollike is a Danish playwright, theater director and artistic director of Sort/Hvid in Copenhagen. Lollike is working with stage and installation art in theaters, public areas and virtual platforms. He has made theater, film, musicvideo, opera, dance and art interventions. He often uses current political events in his work.
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