#johannes aksel

[veryaren]

THE CLERGYMAN: JOHANNES AKSEL

idv oc infopage :3

idv oc stuuuuf because I have nothing else to post and also. he's my favorite walking sphincter of an oc ! johannes... TRIGGER WARNINGS FOR domestic abuse and suicide attempt btw. he doesn't have. A very happy life I will say that. I tried not to play it up too much because it is a PERSONAL peeve of mine when a character's primary draw factor is just being constantly beaten down. any input is GREATLY appreciated on any aspect of him he is just a weird freak.

NOTE THAT HIS LORE WITH HIS BF IS NOT INCLUDED HERE!!!!!!!!. he has a bf that belongs to my sweet beautiful @cherrypill3d (hi kitten). maybe a proper timeline in the future, 𝒉𝒆𝒉... (hi again cherry my kitten *blinks with my heavy long eyelashes*)

compressed lore: (WIP and very crappy, minor CW for implied attempt)

LINKS TO CHARACTER STUFF. blarg

wahoo

DECOMPRESSED lore: (FINISHED-ish and equally crappy, TW for direct mentions of abuse and attempt)

the idiot fuckwaffle himself ☝︎

[subjectively-objective]

Arcana 99 - Ch. 3

Third Place

What is this? Next

Of course, I had heard of the Grenfell-Maxwell Marathon. Its advertisements were certainly targeted towards people in desperate situations. In fact, the promised wish at the end was cited by most I saw signing up. Though it was obviously no more than a ploy to get gullible people in the gate.

Why bother with the ploy when the offered money is more than enough to draw people?

Even my fellow veterans that knew the wish was a lie desired nothing more than to win the grand amount of money at the end of it all. Most of my friends and family wanted nothing more than to win, but they either lacked the drive or the money to cross the Atlantic and try. 

Me? Well, I pride myself on being a little more tempered, a little more frugal, and a lot more patient than my peers, comes with the territory of being a sniper, but even I cannot deny a quick way to make lots of money. Combine that with my expecting wife? To not try would be the worst choice.  

I found a handful of other vets from the Continuation War and talked them all into coming with me, and we were soon on our way to the starting line. I had finished rechecking that we had everything packed in our jeep when I overheard my two teammates talking about their hopes for the race. I may have been the one to convince them to come, but they were far more ambitious than I. 

“If we can place first in five stages, that’s over half a million.” One said. 

“Yeah, but why stop there? If we make it to the end, we get that whole ‘wish’ thing.” Said the other. 

“Only if it’s true,” 

“And I can’t even begin to imagine what I would ask for if it were.” 

“I know that if I had it now, I’d only wish to be out of this damn heat.” 

They had a mutual laugh as I sat in the back of the vehicle, “You should have packed like I told you to,” The two people sat in front of me were Johannes Mannerheim, a soldier I had met during the Lapland War, and Aksel Oesch, a friend through Johannes and the person who stole this jeep from the Soviets. 

One of them waved their hands to dismiss my words, “Bah, we’ll have plenty of opportunities to buy clothes on our way to the other side of the world. By the way, are you still sure about leaving after the first stage?” 

I hesitated to answer. $1,000 was a good amount of money, and it would only grow larger if we placed higher and finished more stages, “I can’t. I promised that this would only take two months, and no amount of money is worth not seeing my child’s, well, any of it.” Johannes nodded. Though his children are adults now, he remembered how it felt. 

A minute of silence passed and it was only interrupted by the announcement of the beginning of the race. Our car sprang to life as the countless others around us followed suit. As I expected, we weren’t gaining on most of the competitors on the flats, but once we reached more rugged terrain, we would make up for it. I reached over and turned on the large radio placed next to me in the back row. I quickly scanned the stations and found the one announcing the race. 

A static-infused voice came out of the headphones and was barely audible over the screams of engines filling the air, “Laveau has broken ahead!”

“Have either of you heard of a Laveau?” I asked. 

They both shook their heads, “The only other racer I know is Dumont” 

Aksel groaned, “Can you not remind me about her, please? It kills the mood when I know this is just a race for second place.” 

"No," I said, "Someone else has already broken ahead. We're racing for third now."

“Only if there’s not another plane competing.” 

“No,” I said, “Only Dumont’s crazy enough to fly a plane when she doesn’t know where the finish line is.” Just as those words left my mouth the ground around us darkened. If I was eating anything, I would have spat it out right then. Above us was a twenty-year-old relic, a zeppelin. 

“Cool, now we’re gunning for fourth.” Johannes rubbed his hand against his head. 

I went to reassure him, but I was interrupted by the radio, “My God! Someone else has broken through the crowd and is gaining on Laveau! It’s competitor 200362, Nerio Pinkerton!” 

“Hey, Johannes the announcer just said that Nerio is here." 

“Nerio? Let me guess, he’s already far ahead of anyone else?” 

“Yeah, looks like we’re fighting for fifth.” 

“Nerio?”

“Oh, right, you’ve never met him. He was a mercenary we worked with during the Continuation War.” 

“Mercenary? I didn’t know we hired any mercenaries.” Johannes looked at me. I shook my head.

If he doesn’t know now. . .

“We are clearly off to a wonderful start to this race!” The announcer continued, “Those two appear to be leagues above the others, and what a spectacle it would be to watch them battle for victory. Wait, hold on. . . I have just received news that Mr. Pinkerton and Ms. Laveau are both members of the same team. This really does put pressure on the other competitors. Can anyone but Dumont’s plane and Kober's. . .” 

He’s on a team with that other person who sprung ahead? Fourth it is. Though, why would he waste himself on this race?

“Hey, Urho, stop daydreaming about him and look,” Johannes pointed to our left where a plane was easing above the crowd, “She must be braver than I thought, taking off in the middle of all this.” 

Something wasn’t right with Dumont trying to take off this early. She was clearly capable of it, but a collision with any vehicle would destroy her chances at victory. I grabbed my rifle’s scope and aimed it towards the plane. Through the scope, I could see black drops fly out from the right wing. 

I panned the scope until I could see the cockpit window. Inside, one person was sat behind the controls. While I couldn't see them clearly, I could tell they weren't Dumont for two reasons. Firstly, they were wearing a wide-brimmed hat inside the plane, a hat that would only make it more difficult to see where they were flying. Second, and most damning, their fashion sense was extremely poncho-centric, a direct offense to Dumont’s normal French chic. 

Well, third place it is. Disappointing, but I could use the $12,000.

I am Urho Häyhä, and this race is how I discovered what I needed most.

Next

[ryoyiel]

top 3 team norway in sj & alpine

In sj

1. Linus

2. Daniel

4. Johann

In alpine

1. Kjetil (Though Aksel is my all-time fave)

2. Henrik

3. Rasmus

[locria-writes]

Tallest to shortest (the whole cast + mc) height difference kisses are my weakness lol

The whole cast?! That’s a lot of characters lmao. Characters yet to be introduced are italicized and suitors/temporary ROs are bolded. Under the cut because it’s long. I also put in ages because why not ヾ(＠＾▽＾＠)ﾉ

All of this is accurate as of 505 C.A. when majority of the story happens, so three years from the current demo.

Valentin Sonnen - 190 cm / 6′3″ / 24 y/o

Aksel - 185 cm / 6′1″ / unknown age

*Ekkehard von Rosenthal - 183 cm / 6′0″ / 26 y/o

Edmund von Brandt - 182 cm / 6′0″ / 32 y/o

Kunibert von Adlersflugel - 180 cm / 5′11″ / 26 y/o

Johannes von Siegel - 180 cm / 5′11″ / 23 y/o

Benedikt von Spellmeyer - 179 cm / 5′10″ / 26 y/o

Rodion Istrebov - 179 cm / 5′10″ / 30 y/o

Wilhelm von Melsbach - 178 cm / 5′10″ / 36 y/o

Oskar von Vogel - 177 cm / 5′10″ / 20 y/o

**Heinrich von Ritter - 177 cm / 5′10″ / 21 y/o

Burkhard von Spellmeyer - 176 cm / 5′9″ / 51 y/o

Leopold von Ritter - 176 cm / 5′9″ / 47 y/o

Laurenz von Rosenthal - 175 cm / 5′9″ / 22 y/o

Marius Holzknecht - 175 cm / 5′9″ / 46 y/o

Lothar von Metzger - 175 cm / 5′9″ / 27 y/o

Nikolaus von Vogel - 175 cm / 5′9″ / 21 y/o

Friedrich Rosenfeld - 174 cm / 5′8″ / 53 y/o

Ferdinand von Wechsler - 174 cm / 5′8″ / 54 y/o

***Wilhelm von Oberst - 173 cm / 5′8″ / 26 y/o

Einar - 172 cm / 5′8″ / unknown age

Constanze von Spellmeyer - 169 cm / 5′7″ / 21 y/o

Gisela von Spellmeyer - 168 cm / 5′6″ / 16 y/o

Dorothea Tanzer - 167 cm / 5′6″ / 39 y/o

Isidor von Spellmeyer - 166 cm / 5′5″ / 15 y/o

Regina von Melsbach - 165 cm / 5′5″ / 34 y/o

Juliana von Spellmeyer - 165 cm / 5′5″ / 20 y/o

Eleonora von Spellmeyer - 163 cm / 5′4″ / 24 y/o

MC - 163 cm / 5′4″ / 18 y/o

Renata von Lehmann - 162 cm / 5′4″ / 18 y/o

Dainora - 161 cm / 5′3″ / unknown age

Sarma Priede - 160 cm / 5′3″ / unknown age

---

*Ekkehard dies in the same chapter he’s introduced lol. But you can still hook up with him.

**Heinrich is the new suitor, but not an RO. You can dabble in a relationship with him, either as flirting or something more intimate. He’s just not one of the main guys.

***Wilhelm O. will court (or at least try) you for a short period of time. Nothing comes of it, but you can have a friends-with-benefits kind of situation or just pure hatesex. Have fun with him (◕‿-)

[lukaswrites]

After the success of SKAM I have seen more people create and use Norwegian characters, so I thought I’d offer some help! Names can be a tricky thing, we all know that, so I thought I’d start out with a list of common Norwegian boy names. Under the cut you can find a list of 50 first names that are common for boys, especially millennials. Whether you’re creating a Norwegian character or just want a name inspired from our cold ass country, this list might be just the thing you need. Some names are pronounced the same way, but spelled a little differently (like Christoffer and Kristoffer). I’ve put those names together just to avoid confusion. 

COMMON BOY NAMES

Adrian

Aksel/Axel

Aleksander

Anders

Andreas

Atle

Benjamin

Christoffer/Kristoffer

Daniel

David

Erik

Eirik

Eskil(d)

Espen

Even

Filip/Philip

Fredrik

Herman(n)

Kim

Kristian/Christian

Jakob

Joachim/Joakim

Jonas

Johannes

Lars

Lasse

Lukas/Lucas

Martin

Magnus

Marius

Mathias

Mikel

Morten

Nicolai/Nikolai

Odd

Ole

Olav

Per 

Pål

Petter

Robin

Robert

Rune

Sander

Sebastian

Stian

Thomas

Tobias

Tor/Thor

Øyvind

+ BONUS

UNCOMMON BOYS NAMES

Ailo

Brage

Brynjar

Evin

Gjermund

Hauk

Hjalmar

Imre

Jarand

Jeppe

Julius

Lavrans

Linus

Malte

Mio

Njål

Ravn

Sigmund

Solan

Tarjei

Viljar

Vinjar

Ørnulf

[wiedzmina-blog]

Norwegian / old norse names and places

Every now and then I come across a book, movie, TV-series, fanfic, game or whatever, that mention a fictional "Norwegian" or "norse" place or person, and it just sounds so wrong it makes me either cringe or ROFL. Really. I still haven't recovered from the 1995 X-files episode, "Død Kalm", which took us to the port of "Tildeskan" where we met "Henry Trondheim", "Halverson" and "Olafsson".  Hopefully this list will keep others from being that “creative” with names. :)

Common names for places, towns and villages in Norway

These names are very generic and suitable for a place, village or town anywhere (and pretty much any time) in Norway. Mix and match prefixes with suffixes for diversity.  Bonus: All of these can also be used as surnames. Name (meaning) - usage

Nes (headland, cape, ness) - Standalone ​ Bø (fenced-in field on a farm) - Standalone Fjell (mountain) -  Standalone or prefix/suffix: Fjell- / -fjell Haug (small hill / large mound)  -  Standalone or prefix/suffix: Haug- / -haug Vik, Viken, Vika (inlet, the inlet, the inlet) -  Standalone or prefix/suffix: Vik- / -viken / -vika Ås, Åsen (hill, the hill (larger than "Bakken")) - Standalone or prefix/suffix: ​ Dal, Dalen (valley, the valley) - Standalone or prefix/suffix: ​ Berg (small mountain) - Standalone or prefix/suffix: Berg(s)- / -berg Sand (sand) - Standalone or prefix/suffix: Sand- / -sand Strand (beach) -  Standalone or prefix/suffix: Strand- / -strand Li (hill) -  Standalone or prefix/suffix: Li- / -li Gran (spruce) -  Standalone or prefix: Gran- Bratt (steep) - prefix only: Bratt- Myr (bog, mire) - prefix only: Myr- Neset, Nesset (the headland, the cape, the ness) - Standalone or suffix: ​-neset / -nesset Odden (foreland, headland) - Standalone or suffix: ​ -odden Våg (cove, bay) - Standalone or suffix: -våg Lund (grove) - Standalone or suffix: -lund Sund (sound, strait) -  Standalone or suffix:  -sund Skog (forest) prefix/suffix: Skog- / -skog Øy (island) prefix/suffix: Øy- / -øy øya (the island) - suffix only: ​ -øya bakken  (the hill) - suffix only: -bakken  gard / gård / gården (farm / farm / the farm) - suffix only: -gard / -gård / -gården elv, -elva (river, the river) suffix only: -elv / -elva stad (old word for town/place) suffix only: -stad vannet (the lake) - suffix only: -vannet

Common words that can be used as prefix to any of the suffixes above Svart- (black)  Lille- (little/small)  Sol- (sun)  Brei-/Bred- (wide)  Stor- (big) Lang- (long)

Common Norwegian surnames (contemporary)

Heredatory surnames didn't become mandatory in Norway until 1923. Many took the name from the farm or place they lived, or just changed their primary patronyms into hereditary patronyms. Example: Helgessønn/Helgesdatter (son of Helge / daughter of Helge) became Helgesen.

Alm Andersen Anderssen Antonsen Aspelund Bakke Bakken Bang Berg Bjerkan Bråthen Christensen Corneliussen Dahl Dahlberg Danielsen Dyrnes Dørum Eide Ellingsen Erdal Eriksen Falch Fredriksen Foss Fure Fylling Gabrielsen Gran Grønning Halvorsen Hansen Hanssen Hay Hoff Holm Holt Husby Isaksen Iversen Jacobsen Jensen Jenssen Johansen Karlsen Klausen Konradsen Kristensen Kristiansen Larsen Larssen Lie Lien Lund Løvold Magnussen Meyer Mikalsen Mo Moen Myhre Myklebust Mørk Ness Nilsen Olavsen Olsen Paulsen Pettersen Prestegård Rasmussen Riise Rogstad Ruud Simonsen Solbakken Solli Stokke Strøm Sund Svendsen Thorvaldsen Torp Thune Tønnesen Ueland Ulven Urdal Vik Vinje Wahl Wik Wilhelmsen Zakariassen Ødegård Årseth Årvik Ås, Aas Åsen, Aasen

Common Norwegian names -- 1980 - present

Men

Anders André Andreas Are Arne Atle Bjørn Cato Chris Christian, Kristian Christoffer, Kristoffer Daniel David Dennis Elias Emil Espen Erik, Eric Eirik Fredrik Filip Geir Harald Helge Hans Henning Håkon, Haakon Håvard Isak Jan Joachim Johan Johannes John, Jon Johnny Jonas Jonathan Kim Kristian, Christian Kristoffer, Christoffer Lars Lucas, Lukas Mads, Mats Magnus Martin Michael, Mikael Morten Niklas Nils Odin Ole Ove Paul Per Peter, Petter Preben Pål Richard, Rikard Roger Sebastian Simen Simon Sindre Sondre Stian Terje Thomas Thor, Tor Thore, Tore Vegard Werner William Øystein Åge Åsmund

Women

Andrea Ane, Anne Anette, Annette Annika, Anniken Astrid Bente Camilla Carina Cathrine Celine Charlotte Christin, Kristin Christina, Kristina Christine, Kristine Elin, Eline Elise Elisabeth Emilie Eva Frida Grete, Grethe Hanne Hege Heidi Helene Hilde Ida Ine Ingrid Ingvill, Ingvild Isabel, Isabell, Isabelle Iselin Jannicke Janine Jeanette Jennie, Jenny Julia, Julie Karoline (Kine) Katrin, Katrine Kristin, Christin Lea, Leah Lena, Lene Linda Line Linn Linnea Lise, Lisa Liv, Live Mai, May Maja Malin Margrete, Margrethe Mari, Maria, Marie Mariann, Marianne Marte, Marthe Mette Monica Nina Nora Oda Pia Ragnhild Randi Rikke Sara, Sarah Silje Siv Stina, Stine Susann, Susanne Tanja Tina, Tine Tiril Tone Trine Vilde Vera Veronica Wenche Åse Åshild

Common Norwegian names - 1800 - 1980

Men Aksel Albert Anders Andreas Anker Ansgar Arne Arnt Arve Asle Atle Birger Bård Charles Edmund Edvard Egon Erling Even Fred Fredrik Frode Geir Georg Gunnar Gunvald Gustav Harald Helge Hilmar Håkon, Haakon Ivar Ingvar Jens Jesper Jørgen Joakim Karl Karsten, Karstein Kjell Klaus Kolbein Kolbjørn Kristian Kåre Lars Lavrans Leif Lossius Ludvig Magne Magnus Nikolai Nils Odd Oddvar Odin Ola Olai Olaf Olav Ole Omar Oscar, Oskar Peder Per Petter Philip, Phillip Pål Ragnar Rikard Roald Roar (also Hroar) Rolf Rune Sigurd Sigvard, Sigvart Simon Svein Sverre Tarjei Terje Toralf, Thoralf Torbjørn, Thorbjørn Torleif, Thorleif Torstein, Thorstein Torvald, Thorvald Trond Ulf Ulrik Valdemar Wilhelm Willy Åge

Women

Albertine Alice, Alise Alma Anita Anna Annbjørg Asbjørg Astrid Aud Bente Berit Birgit Birgitte Bjørg Bjørgun Bodil Borghild Dagny Dagrun Edel Ella Ellen Elsa Fredrikke Frida Gerd Gjertrud Gunhild Gyda Hanna, Hannah Helga Henny Herdis Hilda Hilde Hjørdis Ingeborg Inger Irene Johanna, Johanne Jorun, Jorunn Josefine Judith Kari Karin Kirsten Kitty Kjersti Laila Lilli, Lilly Lisa, Lise Liv Lovise Mathilde Margaret Marit Martha Molly Nanna Oddrun Oddveig Olga Ragna Ragnhild Rigmor Sara Signe Sissel Solbjørg Solveig Solvår Svanhild Sylvi Sølvi Tora Torhild, Toril, Torill Torun, Torunn Tove Valborg Ylva Åse Åshild

Names usage Double names, like Ragnhild Johanne or Ole Martin are common in Norway. Just keep them as two names and don't use "-", and you'll be safe, even if it ends up a tongue twister. Using only one of two given names is also common practice.

In Norway everyone is on a first name basis. Students call teachers and other kids' parents by their first name, workers call their boss by their first name, we call our Prime Minister by her first name (journalists will use her title when speaking to her though). Some senior citizens still use surnames and titles when speaking of or to  people their own age.

There are some exceptions. For example, a doctor may be referred to as Dr. Lastname when we speak of them, but first name is used when speaking to them. A priest is "the priest" when speaking of him/her and their first name is used when spaking to them. In the millitary only surnames (and ranks) are used. If you meet Harald, the King of Norway, in an official setting you will refer to him as "Kongen" (the king). If you run into him at the gas station, or while hiking, he is "Harald".

If you don't know someone's name it is okay to use their title, or just say "you".

Names for pets (contemporary)

Dogs Laika (f) Bamse (m) (bear) Tinka (f) Loke/Loki (m) + characters from TV/film/books...

Cats Melis (m/f) (powdered sugar) Mango (m/f) (mango) Pus (f) (kitty) Mons (m) (tomcat) Nala (f) Pusur (m) (Garfield) Felix (m)  Simba (m) + characters from TV/film/books...

Horses Pajazz (m) Mulan (f) Balder (m) - cold blood Kompis (m) (pal) Freya (f) - cold blood + characters from TV/film/books...

Rabbits Trampe (m) (Thumper) Trulte (f) + characters from TV/film/books...

Cows (yes, I am serious) Dagros Rosa Mira Luna Sara + characters from TV/film - Disney is popular, as are the Kardashians :)

Road and street names

Storgata (usually the main street) Kongens gate (the king's street) Dronningens gate (the queen's street) Jernbanegata (railroad street) Jernbaneveien (railroad road) Sjøgata (ocean street) Sjøveien, Sjøvegen (ocean road) Skolegata (school street) Torvgata (plaza street) Industrigata (industrial street) Industriveien (industrial road)

Prefixes Blåbær- (blueberry) Bringebær- (raspberry) Bjørke- (birch) Aspe- (asp) Kastanje- (chestnut) Solsikke- (sun flower) Blåklokke- (blue bell) Nype- (rosehip) Kirke- (church) Park- (park)

Suffixes -veien, -vegen (the road)  -stien (the path)

Other Torvet (the plaza) - standalone or suffix: -torvet Havna (the port) - standalone or suffix: -havna Kaia (the port) - standalone or suffix: -kaia

Safe solution: use a first name or surname as prefix.

Old norse

Men’s names Agnarr (Agnar) Alfr (Alf) Ámundi (Amund) Ánarr Árngrimr (Arngrim) Askr (Ask) Auðun (Audun) Baldr (Balder) Beinir ​Bjørn Burr Borkr Dagfinnr (Dagfinn) Davið (David) Drengr Durinn Einarr (Einar) Eirikr (Eirik) Eivindr (Eivind) Erlingr (Erling) Fafnir Flóki Freyr (Frey) Fuldarr Galinn Gautarr (Gaute) Gegnir Geirr (Geir) Glóinn Grímarr (Grimar) Hafli Hakon Hallsteinn (Hallstein) Haraldr (Harald) Haukr (Hauk) Heðinn (Hedin, Hedinn) Helgi (Helge) Hrafn, Hrafni (Ravn) Hrafnkell (Ravnkjell) Iarl (Jarl) Ingolfr (Ingolf) Iuar (Ivar) Jafnhárr Jón Jóngeirr Kál Kiaran Klaus Knútr (Knut) Kolgrimr (Kolgrim) Kolr (Kol) Leifr (Leif) Loki Lyngvi Magnus Mikjáll (Mikal, Mikkel) Mór Morði Nesbjørn Nokkvi Oddr (Odd) Oddbjørn Oðin (Odin) Olafr (Olaf) Ormr (Orm) Otr Ouden Pálni Pedr Ragnarr (Ragnar) Ragnvaldr (Ragnvald) Randr (Rand) Róaldr (Roald) Rólfr (Rolf) Salvi Sigarr (Sigar) Sigbjørn Sigurðr (Sigurd) Skarpe Snorri (Snorre) Steinn (Stein) Sveinn (Svein) Teitr Þor (Thor/Tor) Þórbjørn (Thorbjørn/Torbjørn) Þorsteinn (Thorstein/Torstein) Tryggr (Trygg) Týr Ulfár Ulfheðinn (Ulvhedin) Ulfr (Ulf) Vakr Vani Veigr Viðarr (Vidar) Yngvarr (Yngvar) Æsi

Women's names

Anna Arnfriðr (Arnfrid) Ása Bera Bergdís (Bergdis) Biørg (Bjørg) Cecilia Cecilie Christina Dagný (Dagny) Dagrún (Dagrun) Dís Dísa Edda Elin Ellisif (Ellisiv) Freyja (Freya) Friða (Frida) Frigg Gerðr (Gerd) Gertrud Grima Gyða (Gyda) Hadda Hallbéra Hallkatla Herdís (Herdis) Hildigunnr (Hildegunn) Huld Hvít Ida Iðunn (Idun, Idunn) Ingríðr (Ingrid) Johanna Jórunn (Jorun, Jorunn) Juliana Katla Katrine Kristín (Kristin) Leikný (Leikny) Lif (Liv) Magnhildr (Magnhild) Mjøll Myrgiol Nál Nanna Nótt Oda Oddný (Oddny) Ólaug (Olaug) Rafnhildr (Ragnhild) Rán Rannveíg Ríkví (Rikvi, Rikke) Rúna (Runa) Roskva Sága (Saga) Sif (Siv) Sigriðr (Sigrid) Skaði (Skadi) Skuld Svana Sýn Solveig Tekla Tóra (Tora) Trana Ulfhildr (Ulfhild) Una Urðr (Urd) Valborg Vigdís (Viigdis) Vírún Yngvildr (Ingvill, Ingvild) Yrsa

Bynames Bynames, or nicknames, could be neutral, praising or condescending. Usually bynames described a person's

body, bodyparts, bodily features

age

kinship and descent

territorial origin

knowledge, belief, spirituality

clothing, armour

occupation, social position

nature

Examples: Eirik Blodøks (Eirik Blood-Axe), Gammel-Anna (old Anna), Halte-Ása (limping Ása). I suggest that you stick with English for bynames, or use (relatively) modern language if you are writing in Norwegian. 

Surnames

Surnames weren't really a thing until 1923 when they became mandatory. Before 1923 patronyms (son/daughter of) were used, and the name of the farm you lived on was often added as an address. 

For instance: Helgi Eiriksøn (Helgi, son of Eirik), who lived at the farm called Vollr (grass field), would be called Helgi Eiriksøn Vollr. If he moved to the farm called Haugr his name would change to Helgi Eiriksøn Haugr.

Patronyms

Men: Use father's first name and add -sen /-son /-sønn Women: Use father's first name and add -dotter / -dottir / -datter

Farm names

Farm names were usually relevant and derived from either the location, a nearby landmark, nature or from occupation.  I suggest you stick with the modern forms for farm names.

Old Norse (meaning) - modern Bekkr (stream) - Bekk, Bekken Dalr (valley) - Dal, Dahl Horn (horn) - Horn Vollr (field) - Vold, Volden Lundr (grove) - Lund

The list of common names for places/villages/towns is still valid, although the spelling is modern. Just keep it simple and make "clever" combos based on meaning. 

[damn-d4niel]

liverpool (outside of skijumping obv)

thanks!!liverpool: what sports are you watching?apart from ski jumping obviously lmao i‘m a huge alpine skiing trash and i‘d actually die for henrik kristoffersen he is the most precious thing on his earth but i also love mikaela shiffrin and ragnhild mowinckel and my speed faves kjetil jansrud, aksel lund svindal and sofia goggia!! generally i prefer slalom and giant slalom to the speed races but i love all of them wowalso this season i got into many other sports lol like biathlon!! it manages to stress me out more than anything else and i lose my shit over it but who wouldnt love a sport where you get to see johannes thingnes bø and tarjei bø every weekend?? i love cross country skiing a lot too and my faves are obviously the norwegians i love them all loland i also watch snowboard slopestyle i love ståle and sven too much wow what a ship A POWER COUPLE sometimes i watch nordic combined as well but not too often still i obviously love my norwegians there too lol im trashand thats pretty much it i dont watch any summer sports regularily oops

[hillsize]

Your top five favorite alpine skiers/Nordic combined athletes :)

1. Carlo Janka 2. Lara Gut3. Sofia Goggia4. Fritz Dopfer5. Aksel Lund Svindal

1. Johannes Rydzek 2. Björn Kircheisen3. Magnus Moan 4. Fabian Riessle5. Francois Braud

Danke :) 

[joaquimblog]

Final Tosca a Oslo, producció de Calixto Bieio Svetlana Aksenova (Tosca) i Daniel Johansson (Cavaradossi)

Svetlana Aksenova (Tosca) Oslo 2017

Thorbjørn Gulbrandsøy, Claudio Sgura, Ludvig Lindström, Daniel Johansson i Svetlana Aksenova Tosca Oslo 2017 Vittoria! Vittoria!

Què Bieito no faria una Tosca convencional no cal ser una lluminària per saber-ho, però que el director burgalès fos incapaç de commoure i emocionar en una òpera tota ella colpidora, és sota el meu punt de vista, un dels més grans fracassos de la seva immensa carrera operística,.

Ni el text ni la música inspiren a Bieito, a ell l’inspira una idea i es serveix de la immensa popularitat d’una òpera del repertori més estimat per vomitar sobre els personatges i la seva dramatúrgia, tota una altra bilis afegida que res té a veure amb Puccini i el seu reconegut talent musical, ni òbviament tampoc amb el llibret de Giacosa i Illica, que malgrat ser considerat perfecte, sobretot en un segon acte antològic, no cal fer.hi res per tal de fer arribar al públic tota la tensió, la força i el dramatisme que conté. Bieito, que és un reconegudíssim home de teatre, per a mi ha defecat sobre Tosca i l’ha empastifat de tal manera que no hi reconec res.

Tosca no és una diva, no és una dona icònica que pugui escalfar fins al sadisme a Scarpia. És una dona vulgar, una més en el catáleg depredador de Scarpia, que no sabem qui és ni ens importa. Que ningú pensi en un cap de policia, en un militar o un polític corrupte i poderós, no, és un ser anònim sense cap interès que s’encapritxa de Tosca sense que aquest deliri sexual tingui cap explicació en la narració bieitoniana.

Cavaradossi no és un heroi, és una altra víctima anònima que no té la possibilitat ni tan sols de morir dignament afusellat davant de la desesperació de Tosca. Ella no és precipita en lloc, només es desespera en veure que el seu Mario l’han convertit en un ninot alienat.

Scarpia si que mort, en una de les escenes més absurdament ridícules de la història del teatre operístic de les jo en tingui constància. M’estranya tant  que Bieito hagi malmès i desaprofitat tant un segon acte d’aquesta manera, que només ho entenc si amb l’ànsia de no aprofitar res que es pogués entendre com una fidelització a l’original, s’ha passat de rosca.

Qualsevol aproximació als lloc dels fets o les situacions narrades no és ni tan sols pura coincidència.

Acte únic

No hi ha Chiesa di Sant’Andrea della Valle, és clar,  ni res que ho recordi, per tant no hi sagrestano, ni aquest li pot donar a Cavaradossi  “i colori” per pintar, és clar que en lloc hi ha cap constància que aquest sigui pintor, per tant no hi ha quadre, ni per suposat chiave  ni cappella, ni madonna, ni cantoria, ni com és obvi Te Deum, Els personatges ja poden anar dient coses que res del que diuen té cap sentit o transcendència amb el que suposadament fan. És ridícul per tant, que Tosca s’avergonyeix-hi de la revolcada que la despentina “davanti la madonna”. Gran part del diàleg del primer duo entre Tosca i Cavaradossi, amb aquell atac de gelosia tan entranyable dels “occhi neri” no tindria cap sentit i per intentar donar-li una mica coherència al despropòsit Bieito col·loca palplantada en mig de l’escenari una senyora mig nua que no diu res, és clar, i que hem de suposar que és l’Attavanti i que acabarà sent atonyinada per Scarpia en acabar un no sé què,  mentre tot un munt de gent que de cop i volta i sense cap mena d’explicació omple l’escenari, canten “Te Deum laudamus”. En mig de tot aquest no res, Quin sentit té parlar de l’acqua benedetta?, però potser fins i tot podria acceptar aquesta versió tan despullada, si no fos que a Bieito amb tanta deconstrucció li manquen espais i escenes  per omplir, espais buits que ell mateix ha creat i aleshores s’inventa personatges muts amb la pretensió d’inquietar al personal. Hi ha unes minyones contorsionistes que omplen l’escenari de cintes com si fossin teranyines que atrapa a tothom. Hi ha dos nans (potser no es va atrevir a posar dos nens de la cantoria que és el que volia el director) a qui Scarpia prodiga en  carantoines i sàdics pessics i que segurament fora d’escena (així ho fa entendre) li deuen fer favors més lubricants. Aquests nans adults van vestits amb uniforme de col·legi privat, idèntics als nens que haurien de ser escolanets i que ningú sap que hi fan en aquest soterrani tan concorregut, mentre canten el que hom suposa una festa “Doppio soldo… Te Deum… Gloria!  Viva il Re!… Si festeggi la vittoria!”, abraonant-se amb violència sobre el homeless que originalment és un sagristà.

Els tres actes es representen sense solució de continuïtat i per tant no hi ha entreacte. S’acaba el primer mentre Scarpia fueteja envoltat d’un silenci sepulcral (al Liceu la cridòria del públic seria històrica) a l’Attavanti nua mentre tothom va deixant l’escena buida per començar el segon acte que ja us podeu imaginar que no passarà al Palazzo Farnese.

Continua la foscor opressiva, no hi ha ni taules ni cadires, no hi haurà “cena interrotta” ni possibilitat de trobar un ganivet a darrera hora. Tosca escalfa degudament a Scarpia, li treu les ulleres i els hi clava al coll, quelcom que potser si i amb molta sort pot arribar amb la vida d’algú, però se’m fa difícil pensar que uns vidres plans i una muntura lleugera siguin suficient arma letal

És clar que en el segon acte hi passen més coses, i Bieito ens mostra al fons de l’escenari les tortures que li fan al pobre Cavaradossi, I qui el tortura? Dons si, els dos nans del primer acte que ara es dediquen a remenar al pobre tenor de mala manera.

També hi ha quasi de manera permanent, una altra senyora muda, molt ben arreglada i disposada en tot moment a fotre un cop de colze a la seva nova rival per guanyar-se els favors del seu Scarpia..

Cavaradossi en calçotets i amb els pantalots abaixats canta el Vittoria (veure la fotografia de la capçalera) més anticlimàtic que hom pot imaginar. Els “sbirri” porten a Angelotti a qui mataran en escena, tergiversant el llibret però a aquestes alçades de despropòsit oi que ja no importa a ningú?

Tosca per satisfer les fantasies sexuals de Scarpia s’ha de posar un vestit de nit i una perruca rossa, ja que arriba a l’encontre del segon acte amb texans, jersei de llaneta i sabates esportives tal i com anava al primer acte. La cantata aquella que s’escolta a través de la finestra oberta (aquí inexistent) segurament era en un dels escenaris del Sonar i per tant anava informal.

El sadisme habitual en moltes de les produccions de Bieito és normal que aparegui en un segon acte de Tosca, aquí del tot justificat, però part de la força dramàtica que té la tortura de Cavaradossi rau precisament en que no la veus i només l’intueixes. Bieito necessita mostrar-ho, sense adonar-se’n que el rebuig que pretén provocar s’endu per endavant part de la maquinària perfecta d’un segon acte originalment immillorable, convertint-lo en un gran guinyol mancat de tragèdia, fred i amb un distanciament letal.

En el tercer acte que segueix sense interrupció i mentre escoltem clarament les ovelles o les cabres pasturant sota el Castel Sant’Angelo acompanyant la cançó suposadament d’una pastoret (recursos orquestrals de Puccini que fan més nosa que servei al moderns directors d’escena), Bieito fa sortir una altra vegada a la rossa oficial, que en veure a Scarpia obert de cames i mort amb la camissa oberta i la perruca de Tosca tapant-li la bregueta suposadament oberta, li col·loca a sobre les sabates de Tosca, a la manera dels tradicionals canelobres i el barret com si fos el crucifix, estirant-lo com un sac per les cames, se l’endú mentre un nen rosset de l’escolania del col·legi de pagament canta allò de

Io de’ sospiri. Ve ne rimanno tanti Pe’ quante foje Ne smoveno li venti.

Tu me disprezzi. Io me ci accoro, Lampene d’oro Me fai morir!

Aquesta criatureta sembla que és fill de Scarpia i potser de la rossa muda. Una vegada ha acabat i mentre l’orquestra inicia l’interludi amb el tema del adéu a la vida, la criatureta es treu un caramel gegant en forma de cor i amb palet, el comença a llepar de manera molt poc decorosa per a un nen normal, vaja que no llepa només un caramel, oi que m’enteneu?. 

Quan entre Cavaradossi en escena sembla talment la mòmia, amb els braços enganxats al cos i embolicat amb les cintes,que el tenien lligat durant la tortura, en calçotets i ensangonat de cap a peus, fet un “ecce homo” vaja. El carceller que deu tenir fantasies fortes, abans de permetre-li “l’ultima grazia” deixant-lo escriure a la “persona amata”, s’apropa i li besa la ferida del cap de manera poc misericordiosa. Se m’escapen les intencions de Bieito en aquesta escena, la veritat.

Cantar “E lucevan le stelle… ed olezzava la terra…” amb aquella pinta és més que impossible, imperdonable, no pot inspirar a ningú, ni a qui ho canta, ni ha qui ho veu i escolta. Després entra Tosca i ni el veu o no el vol veure, ambdós es posen a cantar separats dos metres l’un de l’altra un duo que hauria de ser passional, però en prou feines es miren, es reconeixen o es parlen, cadascú va a la seva bola. Com dir-li a algú que faci teatre durant l’execució si no n’hi haurà?

Mentre se suposa que entre l’escamot d’afusellament, aquell que l’ha besat sospitosament a la ferida i un dels policies, li pinten la cara de pallasso i li posen una perruca vermella (GIURO!) i l’asseuen al davant de l’escenari amb les cametes penjant al fossat de l’orquestra mentre li col·loquen el cartró que en començar l’obra porta Angelotti i que diu “Your silence will not protect you” en una el·lipsi poc treballada diria jo i aleshores entra tota aquella gentada que ja havíem vist en el primer acte, ara portant retrats de Scarpia, en un recurs que havíem vist en el seu memorable Boris a Munich, allà de manera molt efectiva, mentre Tosca seu al costat de Cavardossi sense precipitar-se al buit. No els cal morir.

No m’interessa gens el que em vol dir Bieito, al menys de la manera que m’ho vol dir, perquè el que explica i com m’ho explica ja m’ho ha dit altres vegades i de manera més efectiva i convincent. Vol explicar una història i tot li grinyola. Ell que és un home de teatre i que sap fer treballar tan bé als actors, no ha estat capaç d’explicar-me Tosca de manera contemporània. Tosca és una òpera verista on tot queda perfectament explicat, tant en el llibret com en la partitura, i malgrat això hem vist mil i una variacions sobre el mateix tema, La variació que ara ens proposa Bieito no m’ha semblat actual, ni contemporània, ni tan sols moderna. M’ha semblat absurda, una vulgaritat mal resolta, provocativa i lluny de ser  genial acaba sent penosa o el que és pitjor, risible.

Mai havia fet un apunt amb tant espai dedicat a la producció, però és que sense la producció aquesta Tosca no és res excepcional.

La millor veu és la soprano Svetlana Aksenova, tot i que la zona més aguda acostuma a ser un crit. La veu és lírica, bonica i amb possibilitats.

Daniel Johansson és un tenor guapot, encara aprent i amb una veu sonora i italianitzant, ho té quasi tot per triomfar, però desafina.

A Claudio Sgura ja el coneixem d’altres interpretacions. El seu Scarpia com el seu Jack Rance, són dignes, no cridats i potser mancats de veritable personalitat i caràcter, però la interpretació que li marca Bieito és la més convincent del tercet protagonista.

Jens-Erik Aasbø és un sonor Angelotti i Pietro Simone un bon sagrestano. El pastoret esdevingut fill de Scarpia, és magnífic.

L’orquestra i el cor sonen esplèndids però el tempo emprat per Karl-Heinz Steffens és en moltes escenes, lentíssim.

Giacomo Puccini TOSCA òpera en 3 actes, llibret de Giacosa i Illica

Tosca – Svetlana Aksenova Cavaradossi – Daniel Johansson Scarpia – Claudio Sgura Angelotti – Jens-Erik Aasbø “Il Sagrestano” – Pietro Simone Spoletta – Thorbjørn Gulbrandsøy Sciarrone – Ludvig Lindström Scarpia’s son Eduardo – Aksel Johannes Skramstad Rykkvin

Norwegian National Opera Orchestra Norwegian National Opera Chorus Director musical – Karl-Heinz Steffens Director d’escena – Calixto Bieito Escenografia – Susanne Gschwender Disseny de llums – Michael Bauer Disseny de vestuari – Anja Rabes Dramatúrgia – Bettina Auer

Norwegian National Opera, 20 de juny de 2017

Avui us he portat aquí aquesta Tosca vocalment poc interessant i a nivell escènic lamentablement provocadora com un exponent del que avui significa per a molts l’òpera. Que al final els norueccs en facin un notable èxit em fa entristir

BIEITO ES CARREGA SENSE CONTEMPLACIONS LA TOSCA DE PUCCINI A OSLO Què Bieito no faria una Tosca convencional no cal ser una lluminària per saber-ho, però que el director burgalès fos incapaç de commoure i emocionar en una òpera tota ella colpidora, és sota el meu punt de vista, un dels més grans fracassos de la seva immensa carrera operística,.

[todayclassical]

September 01 in Music History

1608 Birth of composer Giacomo Torelli.

1648 Death of French priest and music theorist Marin Mersenne in Paris. 

1653 Baptism of German organist and composer Johann Pachelbel. 1732 Birth of composer Johann Gottlieb Sollner.

1732 Birth of composer Thomas Alexander Erskine Kelly.

1751 Birth of composer Emmanuel Johann Joseph Schikaneder. 1768 Birth of composer Carl Bernhard Wessely.

1785 Dedication to Haydn of six String Quartets by Mozart. 1787 Birth of composer John Bake.

1789 Birth of composer Franz Anton Adam Stockhausen.

1804 Birth of German choral conductor and composer Ernst Julius Otto.

1816 Birth of composer Gustav Schmidt.

1816 FP of L. Spohr's opera Faust. The first version is sung in German with spoken dialogue, at the Ständetheater in Prague.

1854 Birth of German composer Engelbert Humperdinck. 1860 Birth of Italian-American opera conductor Cleofonte Campanini.

1868 Birth of soprano Aaltje Noordewierreddingius.

1870 Birth of composer Timotei Popovici.

1874 Birth of composer Heinrich Otto Ludwig.

1884 Birth of soprano Gertrude Kappel.

1886 Birth of Swiss pianist conductor and composer Othmar Schoeck.

1891 Birth of American cellist Paulo Gruppe in Rochester NY. 1895 Birth of composer Joseph Schillinger. 

1900 Birth of composer Kazimierz Wilkomirski.

1905 Birth of composer Gervase Hughes

1911 Birth of composer Komei Abe.

1906 Birth of Danish tenor Aksel Schiotz.

1912 Death of English composer Samuel Coleridge-Taylor.

1921 Birth of American composer Matt Higgins Doran.

1924 Birth of soprano Arda Mandikian.

1924 Birth of bass Michel Roux.

1925 Birth of composer Ruth S White.

1929 Birth of baritone Kostas Paskalis.

1931 Birth of American composer Richard Albert Hundley in Cincinnati, OH.

1934 Birth of soprano Orianna Santunione.

1934 FP of L. Janácek's opera Osud 'Fate', on Brno radio. 

1935 Birth of Japanese conductor Seiji Ozawa in Hoten, Manchuria, China.

1935 Death of soprano Felice Lyne.

1939 Birth of bass-baritone Roger Soyer.

1941 Birth of Roumanian born German soprano Julia Varady in Oradea.

1944 Birth of American conductor Leonard Slatkin. 1947 Birth of Korean violinist Young Uck Kim in Seoul. 1952 Birth of Iranian composer Resa Vali.

1954 Birth of American composer Elizabeth Hayden Pizer.

1955 Birth of American composer Andy Pape in CA.

1957 Death of British hornist Dennis Brain.

1957 Death of mezzo-soprano Sabine Kalter.

1957 Death of soprano Olga Lynn.

1958 Birth of American composer and saxophonist Dan Plonsey.

1963 FP of B. Britten's Cantata Misericordium a Latin dramatization of the parable of the Good Samaritan, by the Suisse Romande Orchestra conducted by Ernest Ansermet, at a concert in celebration of the Red Cross in Geneva, Switzerland.

1964 Death of Swedish composer Otto Olsson in Stockholm.

1965 Birth of Canadian composer Paul Steenhuisen in Vancouver.

1973 Death of soprano Graziella Pareto.

1975 Birth of Dutch composer Marie-Angélique Bueler in Leiden.

1996 Death of Danish composer Vagn Holmboe in Helsinge, Denmark. 

1999 Death of tenor Jose Soler.

2000 FP of L. Gubaidulina's St. John's Passion. 

[veryaren]

hello Tumblr............. Idv oc stuff

[ccorinnef]

Halloween Art Throughout History

Hello my loves! I must first apologise (again!) for slacking with my blog posts. I’ve been really beating myself up about not writing more but I have been attempting to complete Inktober this year and I just couldn’t fit it all in.

I thought, since it is Halloween I could make it up to you by sharing twenty of the creepiest, spookiest, gruesomest paintings I could find.

[TRIGGER WARNING: Some of these paintings depict death, dead bodies, skeletons and blood]

Aksel Waldermar Johannessen - The Night

Aksel Waldemar Johannessen was a Norwegian humanist painter who focused on working class and unfortunate subjects. He is considered Norways ‘forgotten artist’ because he only gained recognition after his death. Johannessen trained in sculpture and painting and was able to make a living first as a furniture maker and then as a painter. He suffered as an alcoholic for many years and often painted himself into his work in an autobiographical attempt. “Thematic, the images are very ambitious ranging from the grotesque to the idyllic; from depictions of sexuality, violence, prostitution, alcoholism and war to idyllic and intimate work.” In this painting, his wife posed to become ghost-like figure standing in the park at night. The use of colour (dark background colours contrast with the bright blues and yellows of the figure) make this painting seem very spooky and creepy.

Henry Fuseli - The Nightmare

Henry Fuseli was born and grew up in Switzerland until he was forced to flee from a vengeful corrupt family; he explored Germany before ending up in England where he spent most of the rest of his life. Fuseli’s father, Johann Caspar Füssli, was a portrait and landscape painter. Having received a classical education in Zurich, Fuseli later paid his way by writing before Sir Joshua Reynolds advised him to pursue art. He was both Professor of Painting and Keeper at the Royal Academy of Arts in London. Fuseli is famous for his supernatural imagination; although he paints in a style consistent with Romanticism, his paintings are inspired by the paranormal. He was a master of light and shadow which he utilised to emphasise the drama in his paintings. The Nightmare portrays a “dreaming woman and the content of her nightmare.” This painting is often described as “a nightmare that causes nightmares”; it is a horrible representation of some of humanity’s deepest fears. Fuseli’s powerful use of light and shadow in this painting makes it very emotive to view; I can imagine myself in the place of the sleeping woman and feel genuine fear. This painting portrays a fear as old as humanity – the fear of not being safe while sleeping.

Katsushika Hokusai - The Ghost of Kohada Koheiji

Hokusai was a Japanese artist from the Edo period; his most famous artwork is The Great Wave off Kanagawa, a piece which I’m sure everyone has seen at some point in their lives. Hokusai began painting at a very early age, practicing the skills his father had as a mirror-maker for the Shōgun. During his teenage years, he was an apprentice learning wood carving, print making and painting. Throughout his career, he distinguished different artistic styles by changing his name for each one. This painting depicts a scene from a Japanese legend where a murdered actor haunts his wife and her lover. The figure is quite gruesome in is design; the skull still has some hair and skin attached. The painting is very eerie as the zombie actor peers through the mosquito net at his wife.

Francisco Goya - Saturn Devouring His Son

Goya is considered simultaneously as the last of the old masters and the first of the modern masters; during his lifetime he enjoyed great success as a Spanish Romantic painter and printmaker. He trained under José Luzán y Martinez and Anton Raphael Mengs, later securing a position with the Spanish Crown as a court painter. Following a severe illness which left him deaf in 1793 his work became darker and bleaker.  This painting depicts a scene from a Romanised Greek myth in which Saturn eats his children to avoid a prophecy that one of them will overthrow him. Goya painted this piece, along with thirteen others known as the “Black paintings”, with oil paints directly onto the walls of his home near Madrid. While he never intended these paintings to be seen by anyone, the painting of Saturn is particularly disturbing.

Francisco Goya - The Dog

Another of Goya’s ‘Black paintings’ is this one of a drowning dog. This stark and empty painting holds so much emotion; the scared dog is trapped between two oblivions of empty space. This sad and lonely painting depicts a dog that seems to be sinking instead of swimming and is at any moment about to be caught by a huge wave. The fear portrayed in his painting is one of helplessness – perhaps reminiscent of Goya’s own struggle with deafness and old age.

Francis Bacon - Study After Velázquez’s Portrait of Innocent X

Francis Bacon was an Irish-British painter renowned for his raw style of painting and his typically religious subject matter. Bacon was a late-comer to painting; he drifted through most of his life as an interior decorator, bon vivant and gambler. His artwork was often focussed on a single subject for extended periods of time. After the suicide of his lover, his artwork become “more sombre, inward-looking and preoccupied with the passage of time and death.” Throughout his career, Bacon returned to Velázquez’s Portrait of Innocent X, painting and repainting his own interpretations of the original. This study of the original is often viewed as Bacon’s “best pope.” His powerful use of a purple colour palette and lines turns Pope Innocent X into a horrific image shrieking almost ghost-like as he fades into the background.

Henryk Weyssenhoff - Premonition

Henryk Weyssenhoff was a “Polish-Belarusian landscape painter, illustrator and sculptor.” He was a descendant of the Livonian nobility but grew up in the Ural Mountains from the age of four after his father was exiled to Siberia. His first art lessons were from Lucjan Kraszewski. He graduated from the Imperial Academy of Arts in Saint Petersburg in 1885 with a silver medal and the official title of “Artist.” This painting is very ethereal; the purple colour palette and whispy brushstrokes work well together to establish spooky scene. The fog and smoke in the painting coupled with the eerie ghost-like figure in the centre and scared howling dogs make this artwork incredibly powerful. Looking at it, you can imagine the atmosphere and fear really existing.

Shawn Coss - Generalized Anxiety Disorder

While he has a background in emergency nursing, Shawn Coss is an incredible artist from Ohio who specialises in dark art. He is most popular for is work on the webcomic series Cyanide & Happiness. In 2016, he used the popular challenge Inktober to create a series of drawings which portray mental illness, Inktober Illness. The drawings all resemble alien humanoids (Doctor Who’s The Silence, anyone?) that embody the symptoms of each mental illness they are depicting. While these characters are definitely a bit creepy, the scary thing about them is how real they are in their portrayals. As someone who suffers from mental illness, being able to see my usually invisible illness validates my experiences and lets me know that I am not alone.

William Blake - The Ghost of a Flea

William Blake is most famously remembered for his poems however he also made a considerable amount of paintings. Blake’s paintings have philosophical and supernatural elements while still being in the style of Romanticism. This painting was inspired by a “spiritual vision” that Blake had; fleas contain the souls of men who were greedy and bloodthirsty. Blake’s representation of the flea as a humanised character could be suggesting the idea that humans possess horrible qualities or that humans and animals are no different. By painting this piece with dark and muted earth tones, Blake manages to make the flea appear incredibly creepy. This character is the stuff of nightmares, creeping through the darkness to its victims.

William Blake - The Great Red Dragon and the Beast from the Sea

Another spooky painting by Blake is this one of The Great Red Dragon and The Beast From The Sea. Blake takes his inspiration for this piece from the Bible’s Book of Revelations. This terrifying painting depicts a representation of the devil standing over a seven-headed sea beast. The dark and muted palette add to the horror and drama of this painting. I would not want to meet either of those creatures on a dark night!

Emil Nolde - Mask Still Life III

Emil Nolde was a German-Danish artist who practised expressionism. He was one of the first artists to begin experimenting with colour in oil and watercolour, and is now known for his frequent use of yellows and reds along with his expressive brushwork. While he worked in creative industries throughout his early adulthood, he only began to pursue becoming an artist in his thirties. This painting is a study of masks in the Berlin Museum; the brilliant colours and bold brushwork becomes a macabre and almost surreal painting.

Edvard Munch - The Scream

This artist is one of Norway’s most famous; Edvard Munch was a painter and printmaker who was inspired by psychological themes and expressionism. He was raised by his aunt and deeply religious father:  "My father was temperamentally nervous and obsessively religious—to the point of psychoneurosis. From him I inherited the seeds of madness. The angels of fear, sorrow, and death stood by my side since the day I was born." Munch suffered poor health throughout his childhood and began painting to ease his boredom as he was kept home from school. His imagination was overwhelmed by macabre visions inspired by ghost stories and religious dogma. He later attended the Royal School of Art and Design in Kristiania (Oslo). The Scream was inspired by a feeling he had as he was walking home one night while the sun set that nature was screaming. The blood red sky certainly heightens the horrible intensity of this painting as the figure “screams” with anxiety.

Salvator Rosa - The Temptation of St Anthony

Rosa was an Italian Baroque artist known for being a bit of a rebel. He studied art with relatives until his father’s death when he had to take over the care and financial support of his family. Following the advice of Giovanni Lanfranco, Rosa moved to work in Rome. When he returned to Naples he started exploring spooky landscapes in his artwork, painting romantic picturesque pieces. While he painted in a very classical style, the subjects he chose were often far more imaginative than was usual for his time. This painting depicts a scene from St Anthony of Athanasius’ biography where he was attacked by demons in the Egyptian desert. Rosa’s portrayal of the demons is particularly horrifying and terrifying.

Hans Memling - Hell

Hans Memling was a German painter working in the style of the Early Flemish painters. Memling was very successful during his lifetime; he became one of Bruges leading painters of religious portraits and diptychs. This painting depicts Memling’s interpretation of Hell and was intended to scare piety into members of the church. This terrifying painting shows a monstrous amalgamation of “man, woman, dragon, devil, bird and dog” dancing on top of its burning victims. The distinctly red colour palette lends itself to the religious imagery of hell as a place of eternal fire. This creepy painting must have certainly achieved its purpose – I definitely find the grotesque image spooky.

Andy Warhol - Big Electric Chair

Andy Warhol was an incredibly successful American Pop artist. He is often considered one of the most notable people of the 1960s; his work focussed on exploring the “relationship between artistic expression, celebrity culture and advertising.” This eerie painting depicts an electric chair alone in the middle of a desolate room. A sign on the wall read ‘silence’ as though a promise for those who await the chair. This terribly disturbing artwork is an ode to the cruelty of humanity. “Everything I do is connected with death.”

Théodore Géricault - Heads, Severed

This horrific painting comes from the work of French artist, Théodore Géricault. He was educated by Carl Vernet and Pierre-Narcisse Guérin in English sporting art and classical composition, respectively. While he was very talented, he was bored of Neoclassicism and instead painted in the Romantic style. What makes this particular painting so gruesome is the fact that the heads were found by Géricault in Paris Morgue. Obviously unafraid to study emotional and morbid subjects, he has tragically posed these heads as though they were simply sleeping. I think it is part of the human condition to be at once terrified and fascinated with death.

Salvador Dalí - The Face of War

Salvador Dalí is one of the most famous surrealist artists the world has known. The Spanish artist practiced in a range of mediums including painting, sculpture, film and jewellery. His imaginative and eccentric style lends itself to his surrealist work. This painting was created while Dalí lived in California inspired by the trauma of war. The infinity implied by the repeating faces inside the eyes and mouth seems to suggest a feeling of being haunted by the memory of people lost in the war that is never ending. In addition the portrait is painted against a stark and desolate background which could hint at the feelings of isolation associated with depression. Almost definitely representing Post Traumatic Stress Disorder, this painting is haunting and emotional; the overall feeling is of being consumed by the mental illness left from the war. Dalí himself believed his work to be premonitions of the war to come.

Giovanni Boldini - Spanish Dancer at the Moulin Rouge

This Italian artist was known as the “Master of Swish” because of his loose flowing painting style. Boldini studied at the Academy of Fine Arts in Florence and while in Florence he met the Macchiaioli painters who had a profound influence on him. Most famous for his portrait paintings, Boldini also painted a range of other subjects such as landscapes. This incredibly expressive painting of a Spanish dancer at the Moulin Rouge perfectly captures the movement of dance. What makes this painting spooky is the fact that there are too many hands – there seems to be a ghost haunting the dancer.

Zdzisław Beksiński - Untitled

Zdzisław Beksiński was a Polish artist focussing on surreal dystopian art. His style is usually described as Baroque or Gothic with expressionistic elements. Beksiński trained in architecture but found that he didn’t enjoy it so he started exploring sculpture, photography and painting. His paintings often portray feelings of anxiety especially in his later more spooky artworks. This untitled ominous painting depicts two skeletons wrapped in each others’ embrace. Painted with dark earthy-red tones this powerful piece conveys a sense of the struggle between the struggle for life and the inevitability of death. I think this piece is particularly emotive because it plays into such a deep human fears.

Vincent van Gogh - Head of a Skeleton with a Burning Cigarette

And to end this post on a slightly more light-hearted note: this painting by Vincent van Gogh. He is arguably one of the most famous artists ever. The Dutch Post-Impressionist painter painted everything from landscapes to still life’s and portraits; he amassed over two-thousand paintings, most in the final years of his life. Van Gogh suffered from multiple mental illnesses, including depression, psychotic episodes and delusions, which saw him in and out of psychiatric hospitals. Van Gogh painted this piece while he studied at the art academy in Antwerp where anatomical drawings were a regular exercise. Instead of taking this exercise very seriously, van Gogh painted his skeleton with a lit cigarette in its teeth. I will always appreciate this slightly rebellious humour.

For more spooky art see here, here, here, here or here.

I hope you all have a fantastic Halloween!

[fotoait]

Fotokuu

Septembris ja oktoobris pakutakse Fotokuu programmi raames iga päeva huvitavaid näitusi, esitlusi, galerii- ja stuudiokülastusi.

Fotokunstimess tuleb taas 29.09-01.10.17 (Telliskivi Loomelinnak, Roheline saal).  

Eesti Fotokunstimessil on sel sügisel esindatud 38 kunstnikku, viis galeriid ja viis projektiruumi. Valikukomisjonis olid Soome Fotomuuseumi kuraator Tiina Rauhala, Art Vilnius 2017 kunstiline projektijuht Sonata Baliuckaité, Eesti Kaasaegse Kunsti Muuseumi juhataja ja kuraator Marten Esko, Eesti Kaasaegse Kunsti Arenduskeskuse projektijuht Kadri Laas, kunstnik Taavi Talve.

Eesti Fotokunstimessil 2017 osalevate galeriide väljapanekutes saab näha järgmiste kunstnike teoseid: Peeter Laurits (Vaal), Giulia Marchi (IT) (Matèria), Arne Maasik (Haus), Diana Tamane (KOGO) ja Alan Proosa (Okapi).

Projektiruumide väljapanekutes on esindatud 11 kunstnikku: Nampei Akaki (JP), Stanisław Legus (PL), Weronika Ławniczak (PL), Bao Ting (CN), Johann Winkelmann (DE), Vova Vorotniov (UA) ja Janek Zamoyski (PL) kunstnikerühmitusest Czułość; Francois Girard-Meunier (CA/NL) GD projektiruumist; Daria Melnikova (LV) Konstanetist, Petra Noordkamp (NL) projektiruumist Suns and Stars, Shalva Alkhanaidze (GE) Tbilisi Fotofestivalilt.

Otse kunstnikele suunatud avatud kutse kaudu pääses messile osalema 22 kunstnikku: Adele Watts (GB), Aksel Haagensen, Annika Haas, Birgit Püve, Emanuele Camerini (IT), Eve Kiiler, Helen Prozes, Judit Flóra Schuller (HU), Karel Koplimets, Keiu Maasik, Kristina Õllek, Laura Põld, Leah Beeferman (US/FI), Liisi Eelmaa, Maxim Mjödov, Nita Vera (CL/FI), Paul Kuimet, Reimo Võsa-Tangsoo, Tanja Muravskaja, Theo Elias (SE), Viktor Gurov ja Visvaldas Morkevicius (LT/DE).

Esmakordselt teeb mess tänavu koostööd Eesti suurima kunsti erarahastuse institutsiooniga Outset Eesti, kes on Tallinnasse kutsunud rahvusvahelise žürii valimaks messilt Eesti fotokunstnike teoseid avalikesse kunstikogudesse. Žüriisse kuuluvad Shoair Mavlian (Tate Modern), Thomas Seelig (Fotomuseum Winterthur), Anu Allas (Kumu) ja  Karin Laansoo (EKKAK / Outset Eesti). Žürii otsus avalikustatakse messi avamisel.

Rohkem infot: http://www.fotokuu.ee/fair/

[demoura]

A TOSCA DA OPERA DE OSLO EM DIRECTO PARA COLARES' : outro domingo lírico em STREAMING com a Tosca da Nordske Opera de Oslo dirigida por Calixto Bieito . Gostei *** tendo sempre em conta que na transmissão gratuita para o sofá somos mais benevolentes... O polêmico espanhol desconstruiu a Tosca para o século XXI mas com escrupuloso respeito pelo texto . As marcas estão lá - Cavarradossi é miope usa óculos ( que Scarpia esmaga ) e faz uma instalação com a madonna nua , o sacristão é um sem abrigo , Scarpia é um personagem de televisão de cabelos pintados acompanhado por uma prostituta figurante a maneira de Guth .Roma não está lá e os cenários sao reduzidos a uma caixa negra e abretirada da bagagem da tradição inclui a ausência de intervalos com ganho na intensidade dramática . Os tradicionalistas lamentarão a ausência do salto de Floria Tosca para a morte na cena final .... Vocalmente Daniel Johansson,que não conhecia , impressionou como Cavaradossi . Claudio Sgura’s Scarpia foi outro cantor do elenco a alto nível dramático e vocal . Svetlana Aksenova cumpriu mas ainda falta algo para habitar a Tosca ! . Existem algumas estridências metálicas nos registos mais altos .o seu ‘muori dannato’ didn’t não tem a ferocidade exigida mas cantou ‘vissi d’arte’ COM genuína dignidade ! . Entrevista com Calisto Bieito sobre o controverso final HHH: But they don’t die? CB: Actually, Puccini didn’t want Tosca to die. Allowing her to die is a more commercial ending, where things are resolved – she’s freed from suffering and we get to grieve. But it is possible to disappear or become nothing without dying physically – when you’re without human rights, work, freedom of expression and dignity. There are so many people who fall outside the societal system, even in a country like Norway. I’ve seen this myself when walking from Oslo Central Station to the Oslo Opera House. Elenco Svetlana Aksenova - Floria Tosca, singer Daniel Johansson - Mario Cavaradossi, artist Claudio Sgura - Scarpia, chief of police Jens-Erik Aasbø - Cesare Angelotti Pietro Simone - "Il Sagrestano" Ludvig Lindström - Sciarrone, Scarpia's agent Thorbjørn Gulbrandsøy - Spoletta, Scarpia's agent Aksel Johannes Skramstad Rykkvin - Eduardo, Scarpia’s son Choir - The Norwegian National Opera Chorus Orchestra - The Norwegian National Opera Orchestra Composer - Giacomo Puccini Libretto - Luigi Illica, Giuseppe Giacosa Music director - Karl-Heinz Steffens Director - Calixto Bieito Sets - Susanne Gschwender Lighting - Michael Bauer Costumes - Anja Rabes Dramaturge - Bettina Auer

[filmelemonicai]

Homeland Shmomeland: despre „Nobel” (2016) ****

Am citit trilogia „Millennium” şi am preferat ecranizările ei originale. Apoi am descoperit – cu ochi mari, de căprior în lumina farurilor – serialul scandinav „Bron/Broen” (2011 – prezent). „Hodejegerne”/„Headhunters” (2011) mi s-a părut cel mai tare film de acţiune văzut în ulitmii ani şi la asta a contribuit nu Nikolaj Coster-Waldau („the sexiest man in the Seven Kingdoms”), ci protagonistul Aksel Hennie.

Recent, serialul norvegian „Nobel” m-a tras de mânecă, amintindu-mi de ce îmi plac scandinavii şi că Aksel Hennie poate duce bine-mersi un sezon întreg în spate. În astea 8 episoade (so far, nu se ştie dacă sunt doar prima porţie sau dacă asta fu tot) – care încep cu un intro distrugătoro-melancolico-alb-negru (youtube.com), norvegianul nostru e Erling Riiser. Membru al unei unităţi a Forţelor Speciale norvegiene, prezent cu băieţii (şi Adella, singura care ştie limba locală) în Afganistan.

Omul e un soldat profesionist de nota 10, nu tresare când trebuie să elimine un puşti cu vestă de sinucigaş, deşi nu mai ştie câţi oameni a ucis, nu şi-a pierdut umanitatea când e în repaus (nici pe front, la un grătar; nici acasă, cu nevasa şi copilul) şi e extrem de capabil să evalueze corect riscurile, salvând vieţi.

Linia narativă ne poartă între Afganistan şi Oslo şi împleteşte graţios şi seamless eforturile guvernului norvegian (în cadrul căruia lucrează soaţa lui Riiser, Johanne) de a bate palma cu Talibanii şi cu un chiabur local (Sharif Zamani), pentru a exploata petrolul din zonă înaintea chinezilor, momentele intense trăite de Erling pe front şi o criză prin care trece acum acesta acasă, după ce primeşte un ordin telefonic de a-l omorî pe Zamani.

Rezultatul final e o poveste despre război, manipulare politică şi oameni puşi în faţa unor decizii grele tare mai iscusit spusă ca „Homeland”. Una în care gros-planurile pe faţa imobilă a lui Hennie transmit multe. Una în care interludiile cu păşuni şi cai taie fix cât trebuie din roata de ca��caval belicos, roată care nu prea arată cu degetul spre Talibani, cât spre interese politice externe. Una în care nu te calcă pe nervi decât criza matrimonială prin care trece eroul bărbos, după ce nevasta îi devine brusc neînţelegătoare. Una în care te prinzi repede cine a comandat asasinatul lui Zamani şi nu te uiţi în continuare ca să îţi confirmi bănuielile, ci ca să-l vezi în acţiune pe Aksel Hennie.

Sursă foto: netflix.com.