Knut Hansen Nesje river itself in her hair, and tying your hands. Should he leave everything at home and seek his fortune on the prairies in America? Or shall he be, by his reading, by slåttekarlivet on the åkerlappen in Molde-lia he works so hard for a day to get ownership? What will give the best life?

Edward Hoems slektskrønike about the Nesje family where some go to America and the other stays at home, has had a great leserskare in Norway. Chronicle is about the life-altering choices in the 1880’s Norway, but experienced are still close.

It is probably both because many people in Norway have a utvandrerhistorie in his family – and because Hoems firebindsverk is all about the little man who must make the crucial choice.

the Characters in “Slåttekar in the sky” to be torn between being at home and follow the familietradisjonene or to go out and start his own life. His Nesjes oldest son, played by Andreas Koschinski Kvisgaard, choose to take.

Photo: Dag Jenssen / det Norske Teatret Subtle tension

When Hoem gave out “Slåttekar in the sky”, called Morgenbladets reviewer book for slow page turner. It is a good concept. In a slowly landscape creates Hoem a subtle tension among the herring, potatoes, and belief in god.

the Show at The Norwegian Theater, dramatized by Kristian Lykkeslet Strømskag, has retained this langsomheten. The story is concentrated around Nesje who choose to be, and svigerinnen Gjertine which go out and around how all Nesjes children leaves him for the benefit of the prospects of a better life.

The slow provides the first part of the show a heavy feel, but it letner in the second part.

the Letters from America was an event. But it was also heavy to write and had to wait long for a response, so Nesje often did.

Photo: Dag Jenssen / The Norwegian Theatre Asks fundamental questions

the Performance will be played in a large, open and dark room. The scenography is dominated by the views, the large and small rips and holes in the dark the sceneries and the natural light gets to shine through and color the show.

These openings represent the hope and opportunities that one can choose to intervene or leave the danger, but they also show the magnificent surrounding scenery, it can be difficult to leave.

Gjertines wanderlust infects. Soon as she gets Joe saddler with him to the promised land, away from the home mountains and fjords.

Photo: Dag Jenssen / The Norwegian Theatre

The big, open stage emphasizes the basic questions the show asks: Who man is in the big picture, as well as how to deal with nådeløsheten in it to have to choose.

Much has changed

a Lot happens in “Slåttekar in heaven.” Children are born and grow up, it made big jumps in time, but the effect is still slowly.

Serianna (Heidi Gjermundsen Broch) gives birth to all the time children. She had not survived without her sister Gjertine (Sara Fellman) – she can, in fact, vote blood and rescues with the sister’s life. Both dream of a better life – Serianna is, Gjertine drag.

Photo: Dag Jenssen / det Norske Teatret

Many characters from the book is gone, while some of them are preserved, still has an unredeemed potential.

Saddler’s Ole seems to have a bigger story than the show has room for. Bemidlede Louise dahl’s function experienced not clarified which she wanders around like an inexhaustible well of poetic wisdom. She represents something else and kontrasterer Nesjes life, but still provides little depth to Nesjes anguish.

Serianna (Heidi Gjermundsen Broch) and Nesje (Jon Bleiklie Devik) meet on the fishing trip. Almost love at first sight.

Photo: Dag Jenssen / det Norske Teatret

Interaction between Nesje, his wife Serianna and svigerinnen Gjertine, however, is dynamic and nice.

Peculiar

the Dialogue also lacks some of the varsomheten in Hoems language. It is often in this transition it lost on the road from literature to drama is.

How Hoem allows Nesjes sober descriptions draw the characters and expand the situations is not present in the teaterteksten in the same degree. But Hoems signature found in salmetekster that is taken into the notion, and that the characters quote extensively.

These are still not exploited well enough. Especially when they quoted verses on the Hoem-the hymn, When the whole world sing to God ends with a ternary hallelujah, experienced it peculiar.

Life in the promised land offers on new challenges. Here is freedom, but not without a price. From left: Svein Roger Karlsen, Julie Castings Society, and Sara Fellman.

Photo: Dag Jenssen / det Norske Teatret

the Actors give a credible representation of the hverdagsslit and hope for the future. The characters live in a time where the sky above them, and constantly changed according to how clearly they felt that God’s will with their lives came forward.

May virkelighetsfjernt in the day, but at the same time still not, then most characters will find the answers in themselves. They struggle to see themselves as part of a larger, all-powerful plan at any time.

ultimately, it’s about creating a good future for himself and his family. The notion glorify in no way utferdstrangen. May provides the adventurous for the little space. May was hillsides in Molde for the beautiful when all came to all.

Recommended further reading: “the Magnificent family history”

REVIEW: “the Midwife on the earth. The house under the Blåhammaren” by Edvard Hoem.