Review: Omaksi kuvakseen

A poet and a suffering person

The mythical Pentti Saarikoski wrote: “The wise man Greek
called Twilight, was right, now I understand it: ‘Not by the evening
I’ll never get there, and when I sleep at night, I’ll come back to my beginning.”

Pentti Saarikoski was a contradictory man whose childhood and youth
life story on the stage of the Helsinki City Theatre is similarly
Conflicting branching garden.

The viewer starts to follow the idea, and the next message brings a new
perspective. An enjoyable play makes the audience work for almost three
hours in the philosophical-psychological jungle, which my friend next to me says
hollow inside.

I’m not against him. That is the whole essence of life. The Man Who Turned
In the 1960s, the reading experiences of life, was the poor and loser of his own life.
The reality is close – it’s in the fact that there are no puffed-up heroic stories
there are no psychological truths, fragile, fragile and unbalanced
People make art. Struggling in the pain of Tantalus.

In the play, Saarikoski’s story is compared to a Greek drama.
Saarikoski bursts out to say, varying his poem: “O my father Tantalos.”

In the role of the poet, Oskari Katajisto Kupittaa struggles in a genuine way
on a narrow bed in a mental hospital. Hannu Lauri, chief physician, priest,
the role of teacher and presenter is the
the counterforce of the nights. The Kupittaa Mental Hospital will gradually become the
Saarikoski’s life, childhood with parents, wife, as well as the person in treatment
girlfriend and excerpts from cultural events in Helsinki and Stockholm.

The mental hospital appears as the Finnish state’s way of treating its writers.
The publisher, the author and his or her loved ones accept the fact.

The play has a biographical touch. The traditional clichés of liquor do not
but in the foreground is the relationship between the patient and the caregiver, the author’s
part. The edgy Saarikoski and the everyday tight-lipped nurse (Marjatta
Track), for which the main role is played by the poet’s physical cleaning and washing
the poet’s feeding, and the balance of everyday life.
Saarikoski concludes that the publisher, who of course pays
hospital bill, it will be cheaper to treat his poet than to
in poor condition.

Poems and translations are written at Kupittaa Hospital. Childhood and youth
open up like a Russian doll into smaller and smaller parts,
until everything is together and the doctor throws the poet into the world.

Did Katajisto succeed or not? Katajisto is really inside the Saarikoski
skins. However, a little too softly, because something
is missing. The force that brought about the great turning events of the 1960s,
Calvinos, Salingers, Henry Miller’s Maruss’s Colossus, the Colossus of All Time
best description of Greece, as well as Saarikoski’s own production.

Pekka Pulakka and Mika Länsimäki alternate between Saarikoski’s childhood
in leading roles. In Saarikoski’s childhood, it becomes a genuine
mystical hunger and the question of whether there is anyone “up there”.

Saarikoski’s problems, the combination of a slacker and a poet, enormous
production in the midst of the degradation of life could only be explained by his
production. In the 1960s, Saarikoski summed it up: “I don’t see my life as a road,
as a journey from the cradle to the grave, but as an object, and as a vessel that fills and
when it is full, it breaks down.”

This play is held together and limited by the concentration of Saarikoski’s
childhood and adolescence. On the other hand, everything is already present: petty-bourgeois
home, a burning will to express, to walk through the world and take it
into their possession.

The play also reveals the tricky Saarikoski. The man who sees
everything so inauthentic that you are ready to blow yourself up and your surroundings
with any action. To release emotions immediately and on the other hand
to focus on the typewriter also at Kupittaa Hospital
without caring at all about their surroundings.

Saarikoski’s wife (Sanna Saarijärvi) takes responsibility, takes care of her child,
takes care of the poet’s practical matters. Girlfriend Lennu (Susa Saukko)
swept by the same wave as Saarikoski and the couple’s
The absurdity of the depiction of the relationship is one of the play’s climaxes.

If you came to see the play to find an easy answer to the
questions, has become a disappointment. After seeing the performance, you are rather satisfied with
Saarikoski’s own conception of a fulfilled fate, which in its time
will be completed.

There is an enormous amount of information available about Saarikoski’s life.
and that is why this play is also possible.
The play is also largely a picture of the times, a perspective on a world that no longer exists
is not. On the other hand, everything multiplies. The 1960s of the last century will come in due course
again, because there is nothing new and everything just multiplies
in a different time and place.

Saarikoski’s poems have a lot of space in the play. The best thing is the intermission
in which Saarikoski is in the role of a performing poet and
recites his poems to the audience. The atmosphere is intense and real.

Saarikoski wrote in 1958: “When he carries the moon in a bucket, it is first
only light, and he walks happily by my side until the waters part: the moon
rises, a light kite that the child carries, and he walks happily
beside me, until the swords flash, the hand is loosening from the thread, the moon is
“Selene has gone wild with the eyes of the men, they are coming in flocks
and own the land.'”