Profile

season 2019-2020

 

The world is a stage, and you can easily make that stage your own, so you don't need the theater at all: Staging yourself is just a matter of a few well-placed clicks on the keyboard. You can apply yourself, and even your own selective editing of the world you are in, and be the centerpiece of your very own little piece of autofiction.

 

But then there's the theater! Here it's possible to meet other notions of the world, and be entertained by stories that can challenge the narrative that you thought was yours.

 

In season 2019/2020 at Husets Teater, we continue with our ongoing study of power and its premises, with a special focus on how we create the world by telling about it.

 

This season we present a series of performances that all are written by a female author, although these voices comes from completely different places.

 

American Chris Kraus' cult novel I LOVE DICK, about being a woman and a human being in the world, is followed by Nobel laureate, Austrian Elfriede Jelinek's masterpiece FOLKEKONGEN (Am Königsweg), which became performance of the year in Germany last season.
Then follows a scenic adaptation of Hungarian Agota Kristof's new classic THE NOTEBOOK, and in the new year we present THE WAVE OF SHIT - new Danish drama by Caroline Jørgensen.

 

All the way through, we insist on accommodating you and on hitting you in your intellectual and your emotional machinery.

 

We welcome you to write your own story into a larger one!

 

Yours sincerely,

JENS ALBINUS and LAURA RAMBERG

+ Rest of Husets Teater

HISTORY

Husets Teater was founded in 1975 in central Copenhagen on the fourth floor in “Huset i Magsstræde” (translates as “The House in Magsstræde”) – hence the name Husets Teater. In 1995 the theatre relocated to its current location on Halmtorvet, Vesterbro, taking over the premises in the old meatpacking district from “Fiolteatret” (meaning The Fiddle Theatre). Here Husets Teater occupied a central location in a rapidly evolving cultural area. Husets Teater enjoys the status of a “small city theatre” with support from the Copenhagen municipality and now houses two venues; the larger black box seating 121 people and the smaller red room seating up to 70 people.


During its early years, Husets Teater presented a number of essential guest performances from for instance Sweden and Italy with new politically inspired groups. From the mid 1980’s the theatre turned its focus to strong playwriting, performing texts by playwriters such as Brecht, Fassbender and a much-debated staging of Klaus Hoffmeyer that was the talk of town due to its sheer crudity.


With the artistic director and administrative leader Søren Iversen and Lisbeth Sjölin as managers from 1992-2008 and the relocation to Halmtorvet, the theatre has created a distinct profile primarily performing contemporary Danish and foreign drama. Husets Teater became known for performing plays that speaks to our own time, and which in terms of set design and artistic form is at the forefront of the trend of the times.


From 2008-2016 the management of Husets Teater was given to actor and director, Mads Wille, and playwright, director and dramaturg, Simon Boberg. The artistic team had previously run the small theatre PLAN-B, situated in the very same building in “Huset i Magsstræde” where Husets Teater was founded. Simon Boberg and Mads Wille has during their time as managers for Husets Teater presented a wide range of some of the best contemporary European drama, ranging from Italian playwright, Cristian Ceresoli, and Russian playwright, Ivan Vyrypaev, over young British playwrights such as Nick Payne and Duncan Macmillan, to german heavyweights such as Roland Schimmelpfennig and Sibylle Berg. Boberg and Wille also founded the very popular and successful reading festival, Festival of European Contemporary Playwrights, which was held at Husets Teater from 2008-2016.


In 2016 Jens Albinus and Laura Ramberg took over management from Wille and Boberg. With Jens Albinus as artistic director, Husets Teater has presented both classic and contemporary plays, always focusing on the performance of the strong actor/actress and a the unique voices found in both old and new classics, in plays and in literature, exploring new artistic forms of expression.