Review: Manillaköysi

TRIBUTE TO THE MANILA ROPE

A grassy stage rising upwards, with railway tracks in front of it and both
tower-like structures rise on one side of the stage. That’s the Manilla Rope
An unchanging stage that fits in its simplicity and
in its diversity, it is an excellent modern Manila rope-like
as a stage for narrative and even meta-narrative.

Fifty years have passed since the appearance of the manila rope. The novel is not
has never been seen on stage before, even though it has been made into a film already in 1976.
The reason may lie in the Manilla rope itself; it is not sensitive to its inner stories
turn into a drama, even though the beginning of the novel with the finding of the rope is in itself like
straight from the stage. Perhaps the time has not been ripe to bring
internationally renowned masterpiece of modernism on stage. Contraindications
the means of postmodernism with their metatexts and cross-border
with their dialogues, they hand the text to the viewer’s lap over the decades.

Lauri Sipari’s stage adaptation and Petteri Sallinen’s direction shake hands
to each other. The arrangement is up-to-date and the direction is crisp. Forward
The impression of going is obvious, even though there is a rush back and forth from time to time
There is movement on stage.

Veijo Meri’s inner stories are a challenge for the actors. The text itself is
so grotesque that an actor doesn’t need, for example, a pig story
to present any additional theatrical effects. Same as
applies to the basics of writing texts, also applies to acting.

Text should be enough. However, the long monologues were still a bit faltering in places in the second performance of the play.

Through the texts, war with all its absurdities also comes close.
There is also time for acting sometimes. The most comical scenes in the play are when
Jari Pehkonen as telegrapher tries to get a German officer to rise
And all the messing around that will follow.

The dance of the German soldiers and the skilful
flamenco performance placed after the intermission. There is also plenty of joy
young Veijo Meri and Tuomas Anhava. Comical with his eyes
actor is Pekka Keppilä, who also played the tightrope bearer Joose Keppilä
Caretaker.

Manila Rope is not just a funny play. It also has a serious
side, or as the young Veijo Meri says, the manila rope is a symbol of Finland’s
about the people and their fate. At the end, the rope has to be chopped so that
Joose’s spirit would be able to travel. The War Trip Gets Its Interpretation: A Useless Trip,
but it was done. At least they survived.

The Manilla Rope play is therefore ultimately a tribute
Manila Rope novel and through it a reminder of the horror of war. Joose
Instead of a stick, a manila rope is a leitmotif, the carrying of which rises
protagonist.