Image courtesy of www.stagephoto.co.uk
Image courtesy of www.stagephoto.co.uk
Image courtesy of www.stagephoto.co.uk
Image courtesy of www.stagephoto.co.uk
Image courtesy of www.stagephoto.co.uk
Image courtesy of www.stagephoto.co.uk
Terje J Tveit has developed and directed several projects for Vestfold International Festival, which include Pergoles's La Serva Padrona and Mozart’s Bastien & Bastienne. In 2010 he wrote and directed the dramatic monologue Notes for a Requiem for Norwegian actor Svein Tindberg of the Norwegian National Theatre (Det Norske Teatret) based on the life and work of renaissance composer Carlo Gesualdo.
His work for Larvik Barokk Festival, in co-production with Ibsen Stage Company, includes the mini-epic A Promemoria and the Holberg-romp Epistel 540: Holberg's Opera and a new stage adaptation of The Happy Prince by Oscar Wilde together with composer Kaja Bjørntvedt, which opened in December 2021 at the Blue Box, Bølgen Theatre, during Larvik Barokk's Christmas Festival. His other collaborations include a.o. work with composer Andrew Smith, New York Polyphony, Bergen Nasjonale Opera, Barokksolistene, Royal Academy of Arts and multi-media designer Momchil Alexiev.
He is currently working on a new version of Shakespeare's Romeo & Juliet, Romeo, Giulio, Giulia & Juliet for Larvik Barokk Festival co-produced by Ibsen Stage Company.
Terje J Tveit's written work has been commissioned by several arts festivals, for whom he works both in English, Danish and Norwegian.
In 2012 he was invited to write Notes on a Requiem on commission for Vestfold International Festival. Other commissions include: The Nightingale Mystery, Bastien & Bastienne, Epistel 540: Holberg's Opera, A Promemoria (verse drama), Dietrich Bonhoeffer — A Passion as well as his stage adaptation of The Happy Prince by Oscar Wilde. In 2012 he started a creative collaboration with Bulgarian multi-media designer Momchil Alexiev developing his own text Tin Soldiers.
Terje J Tveit has translated extensively for Ibsen Stage Company, whose catalogue of Ibsen productions are all based on his own original stage versions. His translations include: Peer Gynt (verse translation), A Doll's House, Little Eyolf, Hedda Gabler, Rosmersholm, Pillars of Society, Ghosts, The Lady from the Sea, The Comrades. He has developed several of his own translations into brand new adaptations, notably Recording Hedda and Peer Gynt Recharged based on Ibsen's Hedda Gabler and Peer Gynt.
Some of his academic work include: Ibsen's Sense of Yearning (Ibsens lengselsfabrikk), Directorial Notes: Acting Emotions, Ibsen and the Curse of the Corset. The latter he presented at the International Ibsen Conference in Rome, Three-Dimensional Ibsen: Politics, Feminism and the Stage in 2006.
“Both intellectually challenged and emotionally moved I was awestruck by Terje Tveit’s translation of Norwegian into English rhyming couplets, which defeat all but a handful of poets in our rather rhyme-deficient language. Peer’s existential angst — really at the heart of the work — is brilliantly displayed against a background of a society itself in existential confusion.”
“En times forestilling som fikk oss til å le, gråte, erindre og undre oss over larviks historie gjenbnom 350 år. Vi ble minnet om hva vi har lagt bak oss og hva vi burde ta med videre.”
“Regissør Terje Tveit som har bearbeidet stykket, og skrevet et nytt manus. Han har også flyttet handlingens omgivelser til et bibliotek, latt seg inspirere av H.C. Andersens eventyrverden og satt inn en forteller i musikkverket med norske replikker.”
“Myten om Gesualdo slik den blir tolket i Terje Tveit’s tekst og regi, er det ingen tvil om at den griper. Fortellingen gir på denne måten bilder til et eldgammelt tema om skyld og soning. Skyldens pris er at de kunstneriske kilder tørker ut, samtidig som nådens mulighet antydes. Og få kan formidle en slik tematikk på en så aktuell og troverdig måte som nettopp skuespilleren Svein Tindberg. [...] Anbefales til alle som ønsker en sterk opplevelse.”
ÅSE:
You harvest what you grow!
But this – I know:
Luck will quickly come and go,
When seeds are fed with salt!
But luck you’ve never lacked;
You struck it years ago when he –
The vicar – what’s his name?
That dainty one who came –
Oh, damn – I have forgot!
But all the same; that flowerpot –
He took you on his lap
And asked your name.
And what a train of words
The way you answered back!
No lack of brains –
You knew to list them all:
The family from A to Z!
The ‘daisy’ said he wished that Peer
Had been a royal prince!
And ever since that day
Your father gave away
His fortune to the guests
Who’d praise his son!
Well – ! The vicar had his ‘day’ –
PEER GYNT:
And then he drove away!
ÅSE:
As did the rest! They went!
No sooner was the money spent,
And they were gone.
But so was he!
Disappeared; and came to be –
PEER GYNT:
Most wanted man in town.
ÅSE:
Oh, you lazy slug!
Poking in your fortune with a stick.
No trick with girls; they run away
Whenever you come near.
And then I hear you had a fight!
PEER GYNT:
Oh, give it up!
ÅSE
Too right! I thought it might be you!
PEER GYNT: What – ?
ÅSE:
Who led that fight that night,
When all those youngsters had it out
Over on the eastside.
I take that it was you
Who fought the blacksmith;
Broke the arm on – what’s his name?
PEER GYNT:
Ma’ –
ÅSE :
Fisty! That’s the one!
At least his finger had some fun
You cracked it – did you not?'
Peer Gynt Recharged, scene 14
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Image courtesy of Svein Eriksen
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Image courtesy of Svein Eriksen
Image courtesy of Svein Eriksen