SO FAR SO GOOD


M

Have you noticed how good we are at knowing things? We always know where to go, or where to find information about where to go. We are bad at not knowing. If you want to not know, then you have to make an effort. Actively ignore all the information that lies in front of you at all times.

If you don't want to know, you have to close your eyes
Or turn off the light
Or unplug the power
And just sit there
In the darkness.




Our lives are composed by a series of events, phenomenas and experiences that point to each other in a causal network. We try as best we can to navigate the signs that surrounds us. Both the signs we do not manage to decipher, and the ones we create, in an attempt to surrender power and responsibility to something outside of ourselves.

In So Far So Good we meet in a place both a theater and dungeon, an old greek arena and a dance club. Sound and vibrations encompass the space, filling in the blanks where words come to short and the audience is invited to take part in the odd and long lost ritual of confessing and cleansing your sins to the scapegoat. Our contemporary society offers us many ways to mute feelings of discomfort related to the status of the world, but nearly always as individuals. In So Far So Good we wish to enter the feeling of unease together, sit with it, possibly punch it out in the end.



Concept and text: Hestnes / Popović

Performers: Marina Popović, Anders Tougaard

Director: Freya Sif Hestnes

Scenography: Hestnes / Popović, Daniel Fogh

Sound design: Daniel Fogh

Costume design and props: Astrid Sønderskov Andersen

Dramaturge: Andrea Skotland

Light Design, Copenhagen: Christian Vest Berntsen

Original Light Design: Ingrid Skanke Høsøien

Creative development and text contribution: Anders Tougaard

Consulting dramaturge: Miriam Frandsen, Guru Stugu

Stage- and production manager: Rudolf Terland Bjørnerem

Producer: Andrea Skotland, Hestnes / Popović

Co-produced by: TOASTER Copenhagen, Rosendal Teater Trondheim

Photos by Atle Auran / Rosendal Teater and Nadia Caroline Andersen
Thanks to: Kristofer Grønskag, Mathias Schwartzbach Pedersen, Students and employees at Theatre and Performance studies at Copenhagen University, Erik Johannesen at Trøndelag Teater, Ulf at Ula Jern, Robin Støckert at Soundscape

Supported by: Danish Arts Council, Norwegian Arts Council, Norwegian Arts Council Audio and Visual Fund, Norwegian Centre for new playwriting, Trøndelag Municipality, Nordic Mobilty Funding, Norwegian Actors Guild, Trøndelag Teater