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is to prove eerily prophetic. 'I can't stand it any more. No I can't bear it.' It is a feeling likely to be shared by anyone unlucky enough to sit through this wretchedly pretentious, interminably boring drama by the
Norwegian dramatist Jon Fosse. ... The aim of this infuriating piece is presumably
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is also open in the sense that the realism in the texts can be put out as a straight depiction of a town where caricatured tough guys play the lead. Or they can be seen as abrupt and rather anti-realist allegories over human conditions in our time."
35:. It tells the story of a young couple who just had their first child. The man tries to become a writer but is constantly rejected by publishers while the woman is growing tired of their situation. The play premiered in 1997 at
170:åpen på den måten at realismen i tekstene kan utlegges som ren heimstaddiktning der karikerte hardinger har hovedrollen. Eller de kan sees som korthogne og snarere antirealistiske allegorier over menneskelige kår i vår tid.
67:, and wrote: "But in terms of form, this is persistently Fosse. He continues to refine his linguistic minimalism with brief verbality on the surface and depths of emotions and charged situations below. Like earlier pieces,
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Men formmessig er dette usvikelig Fosse. Han viderefører rendyrkingen av sin språklige minimalisme med stutt verbalitet på overflaten og dybder av følelser og ladede situasjoner under. Som tidligere stykker, er også
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to make the audience experience the same emotions as the characters on stage - depression, desperation, a terrible lassitude of spirit. It certainly succeeds, but what a perverse and pointless exercise."
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Apori og vaneendring i tre teatertekster av Jon Fosse : en nærlesning av Natta syng sine songar, Dødsvariasjonar og
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213:"Die Nacht singt ihre Lieder"
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130:References
104:Nightsongs
97:Adaptation
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69:Nightsongs
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153:Dagbladet
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41:Stavanger
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