olivia-katherine
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Theatre, literature, travel.
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In the season of autumn we first realize how beautiful it is to let things go and to move on.
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Festen ~ An Interview with Assistant Director Olivia Krauze
Questions by Robert Pratley.
Summarise the experience of directing Festen in one sentence.
An absolute pleasure due to the sheer talent and level of commitment from all of the cast members who threw themselves straight into the more sensitive content, as well as the crazy song and dance filled parts of the piece.
What is the main difference between directing and acting for you?
I get to tell people what to do this time! But seriously, going from acting to directing really makes you appreciate that being a director is no easy job. I think that’s what’s great about having a directorial team, rather than just a single director – we can all support each other and play to our individual strengths. Because from time management to maintaining team morale to character work to the fine art of giving notes there’s a lot to think about.
Do you think it’s a good play for university students? If so, why?
Absolutely. It’s got that shock factor, it’s moving as well as funny in parts and full of memorable characters – what more could you want? On a deeper level, it’s a play about façade which I think resonates with a young audience. We live in a society where image is everything – this, too, is the case for the Hansen family. Though obviously, the truths revealed at their dinner party are a little more… dramatic.
Why did you want to get involved with directing?
As an English student, I spend half my time analysing books and plays anyway. To explore a text with the other directors and cast, rather than just by myself for a change, and then get to put it up on stage just seemed like a fascinating process. I haven’t been let down.
If you had to summarise Festen in one word, what would it be?
Powerful.
Who is your directing inspiration and why?
For me it all kind of goes back to Bertolt Brecht (I already hate myself for how pretentious that sounds). Not necessarily all the Epic Theatre dramaturgy, but simply his emphasis on putting on plays that make the audience think. More contemporary, I would say Carrie Cracknell – her production of Birdland with Andrew Scott is still one of the best things I’ve seen to date. We share a fascination for exploring darker themes in theatre.
If you had to be locked in a room with 3 people (dead or alive) in stage and television, who would you pick and why?
Ian Somerholder (a beautiful human inside and out), Helena Bonham Carter (so many formidable female roles to talk about) Shakespeare (no explanation needed).
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