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Huom! Poistunut ohjelmistosta!
DIRECTION Tuija Töyräs
SET DESIGN Tina Jokitalo
SUITS Maija Pekkanen
MUSIC Markus Fagerudd
LIGHTS Risto Heikkerö
VOICE: Mauri Siirala
ACTORS: Oskari Katajisto, Pekko Pulakka/Mika Länsimäki, Seppo Maijala, Eija Vilpas, Hannu Lauri, Riku Kemppinen, Marjatta Raita, Susa Saukko, Merja Pietilä, Sanna Saarijärvi, Sami Hokkanen
Just live to write Helsinki City Theatre’s play Saarikoski The champion is only at the beginning of his journey In Their Own Image, script and direction Tuija Töyräs. Music Markus Fagerudd, set design Tina Jokitalo, cast Oskari katajisto, Pekko Pulakka, Seppo Maijala, Eija Vilpas, Hannu Lauri, Marjatta Raita, Riku Kemppinen, Merja Pietilä, Sanna Saarijärvi and Susa Otter. Premiere in Helsinki On the small stage of the City Theatre on 21.10.. Review 26.10. from the proposal. Pentti Saarikoski, who died in 1983, belongs to the enduring stars of post-war Finland, and he is still an interesting and a personality that evokes conflicting emotions. No wonder Tuija The play written and directed by Töyräs about him has already provokes a reasonable amount of discussion for and against. Helsinki The City Theatre’s novelty offers an intense viewing experience for young people to the beginning of his career as a writer, to the factors that grew into a legendary literary master. The Narcissist’s Journey into the past The play takes place in 1962 and Kupittaa mental hospital, where the author ended up in a violent as a result of the crazy season. He was 25 years old and had already published some poems. His first marriage with his childhood friend Tuula was already beginning over. The story proceeds in flashbacks, in which Fragments of childhood and adolescence are flooded into the hospital room. In the play, Saarikoski is in Kupittaa, as it were, observing his own life in pictures and fights his way out of the oppressive, religious home and sphere of influence of the church. The beginning of the play focuses especially on Saarikoski’s dominant father. In his role, Seppo Maijala Eija Vilpas as an anxious mother. Their fractured relationship when their father visits visitors may be one of the reasons for the young person’s to the writer’s plight and the pain of life. Oskari Katajisto devotion The play occasionally offers quotes from Saarikoski’s diaries and Pekka Tarkka’s first biography. Excellent section the whole consists of the author’s poems, which are performed by the author of the Oskari Katajisto with devotion and empathy interprets. The performance of juniper in general is a key factor in the success of the play. He dives into the skins without that overly respectful and stagnant rigidity, Which is in danger of falling into the trap when describing the undisputed genius of his field. The play does not wash Saarikoski as some kind of squeaky, misunderstood genius. He is who you can’t help but sympathize with from time to time, but who would also do The mind pulls towards the sight. Music creates antiquity Shades From time to time, the child Saarikoski will be seen on stage, Pekko Pulakka presents in a controlled manner. She sings with sensitivity soprano, and with these performances a kind of holy spirit comes along, which I would not immediately consider part of the Saarikoski mythology. However, the solution turns out to be in the end like Markus Fagerudd’s music in general. The music, which strives for the tones of antiquity and the levels of church music, supports well – fortunately not intrusive – symbolism chosen by the director, which are represented, among other things, by sheets of poetry swinging in the fire and the shadow theatre. The set design of the play is successful In all its referentiality, it works in all environments. Great love and Muse I would also like to highlight the actors Sanna Saarijärvi, who plays the first wife. His performance as the poet’s first muse impressively conveys the great the love she felt for the author, but also the heart-wrenching the jealousy she experienced when her husband visited. The man clung to her, on the other hand, pushed away from him. Susa Saukko Saarikoski disturbed as a mistress, Lennuna is quite a grotesque character, but fits well to the author’s crazy phases. The brave of a writer’s career Rise The play ends with the release of Saarikoski from a mental hospital at the moment when the career of a diligent writer is about to start to the actual flight that we all know. For those who don’t know Saarikoski’s later stages very closely, the play is likely to arouse a great desire to grab his diaries and poetry. All the same, the City Theatre’s A commendable overview of the poet’s youth and childhood is certainly a source of to the minds of the majority, which could be heard from the resounding applause in the sold-out auditorium after the performance.
Lue lisääI am the world Tuija Töyräs has written and directed a play for the City Theatre about the youth of the poet Pentti Saarikoski . The collage-like fiction takes place in 1962. At the time, the 25-year-old Saarikoski was in the Kupittaa mental hospital. Drunkenness and identity conflicts had put the young man in poor shape.In its own image, the play has an airy structure and in places is very beautiful. There would have been plenty of events in Saarikoski’s youth that could have emphasized his role as a clown. Tuija Töyräs gives only a few joyful scenes to show what kind of a master Saarikoski was when he wanted to.Oskari Katajisto, who plays the poet, has a wide scale: from drunken madness to ecstasy, from longing for God to denying faith, from spirituality to carnality. It is easy to believe in the charm of his poet and at the same time see himself as a lost and socially timid young man. A person is really a whole world.In its flashback, the play takes us to the conflicts of the cramped bourgeois home, the school and the parish. His youthful love for his first wife (Sanna Saarijärvi) is strong. At first, the girlfriend (Susa Saukko) seems very delicate and fragile, but the passion that holds the couple together comes out skillfully in the climbing rope scene together. The search for sexual identity has been carried out in style in the play in other ways as well. Unfortunately, gone are the important friends from school and philosophical discussions about the state of Western culture and the church, as well as the place of one’s own self in the world. The origin and reasons for Saarikoski’s political interest also remain a detached glimpse. Markus Fagerudd’s music sounds beautiful and clear, especially the passages from the New Testament sung in Greek. Tina Jokitalo’s successful set design transforms into many things and, with its light reflections and shadow figures, emphasizes the airy structure of the entire play and the rapid changes of time and place. Saarikoski’s poems invite people to return to his poetry books and biographies.
Lue lisääA young poet (Oskari Katajisto) drinks and works hard In the Helsinki City Theatre’s play Omaksi kuvaksi. Comrades (Sami Hokkanen) carry more liquor. STEFAN BREMER Helsinki City Theatre’s Own Image shows the private side Pentti SaarikoskiTHEATREAs is well known, making theatre of the great men and women of history is problematic, to say the least. This is especially the case when the person is from recent history and well-known. Can it even be Theoretically, it is possible to summarize thousands of pages of biographical information into a couple of An hour-long play?No. It’s always a matter of choices, interpretations and The justifications of which can be debated endlessly. This is also the case In the Helsinki City Theatre’s play Omaksi kuvaksi.The one who comes to the small stage of the Helsinki City Theatre to look for an explanation or biographical overview of a phenomenon called Pentti Saarikoski, will probably be disappointed. Instead, we see a play that is attached to the young artistic genius above all the problem of existence. This is the purpose of the serves well.How can Pentti be explained?In his own image limits its perspective to the personal aspects of the young Pentti Saarikoski’s life motives. The author’s political motives and relationships with other contemporaries The play deals only with references.The year is 1962, the 25-year-old Pentti, who has an alcohol problem, has ended up in the Kupittaa mental hospital to “calm down”. The doctor tries to do an analysis, but Pena insists typewriter. James Joyce’s Ulysses is waiting for its translator.Flashbacks through the play, the play explores Saarikoski’s childhood and early youth. We will see a boy who is too talented for his environment, who tries to “read himself through the world”, to get to grips with the mysteries of the surrounding society through heroes and great philosophers, instead of really sinking into the middle of the world.Ankara’s religious home develops a multifaceted poetic genius who is not suitable among other people to live.To some extent, the explanatory factor of the disease seems to be The cruelty and duplicity of Saarikoski’s arrogant father (Seppo Maijala) moralizing, but Pentti is not explained by Oedipus alone.Own seems to say that Saarikoski’s problem was a genius that did not allowed any explanation of the world to rise to its own monumentality. above.In the end, Saarikoski always primarily serves his own purpose, but unlike a genuine narcissist, he looks at himself and his own life too closely, is constantly aware of the existence of a human being. of the ultimate absurdity. A young man creates poet Pentti Saarikoski into its own image, but that image is only a fragmented reflection, an unreal and constantly distorted representation of the self.Inventive AtonementTöyräs’s direction is remarkably stage-like, considering that The play also features a lot of pure poetry matinee. Although stage symbolism with all its book stairs and flying devices has an impact sometimes even too clever, serves as director and set designer Tina Jokitalo’s Ingenuity is very much on purpose.The play progresses slowly, with the mental hospital acting as a frame story. At first, the tempo can even be felt dragging, but in the end, the poetic nature of the direction and the Mixing with reality starts to strangely charm.In his own image seems to be smiling at himself, even at life. The point of view is clear: Plato, Dionysus and the twilight scattered here and there explain this Saarikoski more than Marx, Engels and the cultural policy of the 1960s.The basic set of Jokitalo is simple but functional, with two doors, one bed and one that opens in the middle A large wall that also serves as a screen. Projections onto some of the play’s The episodes create a very cinematic atmosphere.Controlled interpretationOskari Katajisto does a great job in the lead role of the play. The whole two walk side by side and for half an hour, a poet innocently played by Pekko Pulakka as a child.It would be easy to flatten Saarikoski into a drunken artist stereotype, but Katajisto will not fall for this. In the end, the interpretation is quite controlled and physical, Above all, Saarikoski becomes a manic workaholic who does not follow his father’s yoke. no longer question his role as a poet and the classical as a translator of literature.This is his mission, but what to do does it have with the surrounding society? Not much, young Saarikoski can’t real contact with his world, even if he breeds it children, too.As a pet of the left, he is just as embarrassed. No Saarikoski has been a proper communist, to bend to what someone has invented earlier theories. He was his own ism.Tuija Töyräs: In Her Own Image, premiere on the small stage of the Helsinki City Theatre on 21.10. Director: Tuija Bumpy. Music: Markus Fagerudd. Set design and projections: Tina Jokitalo. Costumes: Maija Pekkanen. Lights: Risto Heikkerö, Tina Jokitalo. Voice: Mauri Siirala. Cast: Oskari Katajisto, Pekko Pulakka, Seppo Maijala, Eija Vilpas, Hannu Lauri, Marjatta Raita, Riku Kemppinen, Merja Pietilä, Sanna Saarijärvi, Susa Saukko, Sami Hokkanen.
Lue lisääOskari Katajisto shines Saarikoski Oskari Katajisto sweats In Pentti Saarikoski’s big shoes, and the sweat doesn’t run to waste. Helsinki City Theatre’s Into Your Own Image is funny and insightful work. The play focuses on Saarikoski’s time in a mental hospital. Childhood and even youth is run to the stage to besiege Saarikoski hospital beds. Tuija Töyräs is avoided the pitfalls of dealing with such a polemical cultural figure. easily bring it with you. He has built the play between the overlapping scenes into a book. Saarikoski’s presence is key. When engaging in a discussion with other The poet actually has a conversation with himself. A lot is demanded of actors when Scenes from different time levels are shown at the same time. Among others, Hannu Lauri changes role from chief physician to teacher of Saarikoski’s youth just by lifting the hem of the jacket. The sets are referential in all environments. The tyrannical father (Seppo Maijala) and the resigned mother (Eija Vilpas) The relationship offers some kind of explanation for Saarikoski’s plight. Playing 12-year-old Saarikoski Pekko Pulakka acts as an adult Saarikoski’s introspection as a mirror. There is a subtle tension between the two performers of Saarikoski as they work on stage as if unaware of each other. Oskari Katajisto makes Saarikoski blood and flesh. That makes the play ignite.
Lue lisää———————————————————————— Tuija Töyräs: Own – play by Pentti Saarikoski youth. Premiere on the small stage of the Helsinki City Theatre. Directed by Tuija Töyräs, music by Markus Fagerudd, set design by Tina Jokitalo, costumes by Maija Pekkanen. Cast Oskari Katajisto, Pekko Pulakka/Mika Länsimäki, Seppo Maijala, Eija Vilpas, Hannu Lauri, Marjatta Raita, Riku Kemppinen, Merja Pietilä, Sanna Saarijärvi, Susa Saukko, Sami Hokkanen. Musicians Markus Fagerudd/ Lasse Hirvi, grand piano and Markku Veijonsuo, trombone. ———————————————————————————————————————— The camel doesn’t go through the eye of a needle, but luckily it doesn’t has not even been attempted at the Helsinki City Theatre. So we now have to examine an image that can be believed to be its target at certain stages of his life. More from us Not even asked. The brave poet has many faces. And these are the ones one. XXXXX The stories of a child prodigy are rarely happy. If someone is Especially talented, outsiders often look at him down the nose. Nor Not sure that he will not arouse jealousy in his own family circle. Saarikoski was An evacuee boy whose talents were evident at an early age. Still, his relationship Siblings seem to have been natural and close in childhood. The parents were Maybe the educators are confused but encouraging. However, it is worth asking what significance it had that even though the boy saw duality of his father’s character and pity for his mother, he went to carry out his fate partly according to the questionable model he learned from his father. Undoubtedly, also according to the fact that he wrote the texts of great thinkers and poets while reading and translating into Finnish, I felt a great affinity with them. And those who fly close to the sun may not be in the same position as ordinary people with mortals. They women who, at this stage of the poet’s (mental hospital) life, At the beginning, they introduce themselves, each pulling in their own direction. Tuuli wife would take to the safety of her beloved, to a more framed way of life, while Lennu promised land. The viewer knows what happened to the prince in real life, and so that at least that image would not be the only one that is passed on to new generations, requires a rich survey of Pentti Saarikoski’s life and work literature in addition to his own literary production. In his own image, a stage work that deserved to come. XXXXX I liked the sacredness of the execution, its connections antiquity and Christianity, its exciting choral parts, live music glamour and the strong presence of the musicians. It was a good solution to give For a poet, there are two personifications, a child and an adult figure. There is room in the performance to each separately and thus to the development of the story in the viewer’s mind, while in simultaneous sequences, as the events overlap, the image gets a suitable also backlight. Pekko Pulakka is appealing as a child Saarikoski and sings sensitively and beautifully. Oskari Katajisto pulls off his demanding role with energy and nuance. He gets rid of it pain and comedy where the poet’s hubris, arrogance and defiance. The actor is also helped by the strong empathy of an experienced poetry interpreter. Seppo Maijala as the poet’s father makes an unhurried and edgy Eija Vilpas carries out her role as a mother in a genuine and understated way. Hannu Lauri demonstrates the authority and even curiosity of the chief physician in style, and Marjatta Raita as a nurse warmly offers a performance backwater. Sanna Saarijärvi’s interpretation of Saarikoski as his wife has depth and energy, while Susa Saukko gives personal expression for the poet’s restless and unobtrusive girlfriend.
Lue lisääMemories and emotions from childhood and adolescence shook Ismo Saarikoski. Fact and fiction brought out Pentti Saarikoski’s genius and weakness.
Lue lisääSaarikoski for autumn depression Theatre is guaranteed to work autumn depression. At least I felt better when I went to see the Helsinki on the small stage of the City Theatre, Pentti Saarikoski’s Omaksi kuvakseen (In Their Own Image). It was both harrowing and scratching: even though the story is familiar. Its implementation was surprising and pleasantly modern. You could laugh too, all your heart bottom. And as the friend next to me said: “Even though I doubted whether I would have the energy to watch Oskari Katajisto , familiar from the gossip magazine’s kääk column, all evening, I did so well. The man is a great actor, let us gossip about him at any time.” Snappy female energy was provided by the poet’s muses, first wife Tuuli (Sanna Saarijärvi) and his girlfriend Lennu (Susa Saukko). A prime evening. I recommend.
Lue lisääAfter the premiere ofT uija Töyräs’s play Omaksi kuvaksen, that Pentti Saarikoski of the Helsinki City Theatre tradition continues honorably, and beautifully. The tradition is actually unusually long. In the early 1960s, Saarikoski’s excellent use of colloquial language made him the favourite translator of the stages. He translated such dates into Finnish such as Max Frisch’s Arsonists or Arnold Wesker’s Roots. His However, his interest in the play was literary in nature.He discussed with director Sakari Puurunen after translating John Osborne into Finnish Luther, but he didn’t even bother to visit to see a performance at the People’s Theatre-Workers’ Theatre, the City Theatre predecessor. Play was twenty years later, when the City Theatre performed his his translation of Ibsen’s Peer Favorable. The director of the performance, Ralf Långbacka, was involved in the work already in the early stages of the translation and divided the main character into two Esko Salminen played the old Peer and Jukka-Pekka Palo the young Peer. The same solution occurs now Töyräs in the play.Saarikoski participated in the to the work of the theatre all the way to its final stages. He sat in practice on the ramp on the other side, polishing Salminen’s and Palo’s lines to the last until then. As a result, was a great success. Critics thought it was full-fledged dramaturgical translation that physically reached the audience.Critics bet on Långbacka’s direction audience success, which was right: Peer Gynt went At the City Theatre for more than a year after Saarikoski’s death. See was performed 145 times and received 125,000 spectators.While working, Saarikoski lived in in the guest room of the theatre house and gained a position as a kind of mascot of the theatre. His poor and booze-eaten figure radiated a strange charisma. So after his death, the people of the theatre organised a magnificent a memorial celebration in which the actors recited and dancers danced to his poems.Performer of the lead role in a play Oskari Katajisto is so young that he was not At that time, he was still involved. But he has later adopted Saarikoski’s interpretation sometimes when reciting his poems in the foyer of the theatre, sometimes simulating the visit of the deceased Saarikoski to the Lahti Poetry Marathon.Strong identification with Pentti’s Narcissus character supported his excellent interpretation of Töyräs’s in the play. I wonder what Saarikoski should have kept Tuija Töyräs play?Saarikoski’s distant relationship The theatre began to warm up in the 1970s, but it really melted away when he lived In Sweden, where he began writing radio plays. Paula Paavolainen has shown that he consciously experimented with different Types of dramas: Töehovian theatre, ancient play of fate and finally play in which “the stories intersect, interrupt, disturbing”.In Töyräs’s play, there is a distant a reference to ancient drama, as there is a choir humming in Greek in the background The Gospel of John: “In the beginning was the Word.” Suitable for Saarikoski, whose key concepts were the Greek logos , as well as the pagan and Septuagint Christian meaning. Töyräs is the closest to the type where the stories intersect each other. The many time levels of his drama are skilfully placed together in the only space, a mental hospital, in the detoxification treatment of which the Saarikoski’s childhood, family, church and early years relationships.Radio play is a different kind than comprehensive theatre, which Saarikoski did not have time to try himself.Shortly before his death, however, he was puzzled by a play about Edvard Gylling, which Långbacka had been commissioned by the City Theatre. It was supposed to become a portrait of the Soviet Karelian a civilized leader who fell victim to Stalin’s persecutions.Perhaps he would have used the the same kind of montage as Tuija Töyräs in the City Theatre’s play now.
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