The norwegian newspaper Dagbladet writes that some scenes “(…) makes one think of the paintings of Goya, the way the would have looked if they were re-invented by Monty Python.”
“The holy fool rising up against bourgeois values and its own self seriousness. The fool with its irrational contact with the holy and practices its faith in such a paradox way, that the opposite of what is supposed to happen is manifested.”
I Cloni looks at the longing for someone or something bigger and stronger, and touches questions about the need for religion and mystisism in a seemingly rational age loosing its bearings. We question the existence of something better, wiser, purer, that can save us. Kan we laugh at our helplessness while we realize that this entity does not exist, and that the dead, when summoned, only offer advice on interior decorating – which really points to there not being any higher truth or meaning to stretch out your arms and minds after, and that the responsibility we refuse to shoulder, is draped heavily over us while we are hunting for grandmothers in a Peter Pan-ish attempt never to grow up.
The holy fool show us what is banal in the what is revered and serious, touches the untouchable and shows us that we are looking for salvation in all the wrong places. In todays growing precariat, the need for stability is on the rise. Social stability is being washed away from under our feet, the significant social reforms from the last century is being dismantled. I Cloni is a meditation over the fool and its vulnerable and vital position as societys critical mirror.
The roots of the show plunge into the worldview of the shamans, animism, mediumship, sexual phone services, traditional Norwegian “Goro” wafer biscuits, childhood memories, the attempt at producing the pleasure hormone oxytocin, religion and the grandmothers in fairytales who are mentors in the upper world of the shamanistic worldview. I Cloni is located in a shamanistic mezzanine world – here, everything can turn against you without warning. It can also be a warm, nice and calm place. But the mezzanine world is treacherous. And other dimensions keep seeping in through the fringe curtains. We open and close circles. Constantly.
Shall we join hands and contact the living?
A PONR production Concept and direction: Lisa Lie Text: Lisa Lie / PONR Scenography and costumes: Maja Nilsen Light design: Kerstin Weimers Sound: Christoffer Karlsson Producer: Aurora Kvamsdal Co-creators and performers: Ivar Furre Aam, Kenneth Homstad, Helga Kristine Edvindsen, Lisa Lie Dramaturge: Elin Amundsen Grinaker Masks: Magnhild Kennedy Extra: Sissel Lie Coproduced by Black Box teater, Teaterhuset Avant Garden and BIT-teatergarasjen. Supported by the Norwegian cultural council, Fund for freelance (NSF), Fund for performing artist (FFUK) and Fund for sound and image (FFLB).