Cirkus Grønland was supposed to be a street-theatre performance in Grønland. Walking from Grønland Torg, through smalgangen and to Olafiagangen. But due to the ongoing pandemic and the artistic state of emergency the performance is de-constructed. Parted in to pieces. And will now be spread as small artistic raindrops over Grønland in a time of silence. If you just happen to be there, you might see it.
Director: Mine Nilay Yalcin
Scenografi: Heidi Dalene
Scenografi-assistent: Sofie Skipperud
Inspisient: Tormod Fuglestad
Seagul-blacksmith: Kristine Sandøy
Actors: Wael Jaohar , Kaleb Halle ,Hawa Janlo ,Kristine Elisabeth Opsahl, Amalie Sasha Schanke, Hibba Najeeb, Mubarak Said Muse, Viktor Kimathi Mati og Yara Emilie Bjaarstad Medina.
Supervisor: Petter Width Kristiansen,
Co-supervisor: Jesper Halle, Deise Nunes og Anne Holtan.
Ekstern: Nadir Guendouz.
Big thanks to:
Nordic Black Theatre, Jarl Solberg og Cliff Moustache.
Interkulturelt museum og Anne-Lise Botner Bye.
Sofie Frost for great support!
Martin Brostigen for the great "remembering Garrincha" soundscaping.
Carpenter Anders Berthling Hamre.
And all the actors who was supposed to join before the restrictions seperated us.
About Cirkus Grønland
a poetic depiction of a project in an impossible time
Cirkus Grønland would have been a street party. A meeting place. A hearth of madness.
It would be a children’s birthday party. A cold buffet. An Id-celebration. A parade.
A concert. A festival. A food feast. A jollification. A show!
It would be a gathering that would highlight and celebrate, that made a fuss of and applauded, that paid tribute to and prided, that complimented and celebrated, that raised to the skies a loved and hated area – right in the middle of the centre of Oslo.
It would be chaotic, annoying, impassable.
Messy. Disorganized. Crazy. Topsy-turvy. Kaleidoscopic. Helter-skelter.
And we wouldn’t know. What was theatre. What was real.
A universe in a universe. A city inside a city.
A herd inside a street inside a city inside a city.
A people. Undefinable, compounded only by the asphalt they all walk on.
Every day. Routinely. Habitually. Ordinarily.
Completely ordinary in what many might call strikingly weird.
And we would mix in with all of this. With the walls. With the cobblestones. And the stairs. And the asphalt. We would mix. With the tomatoes. And the eggplants. And the bulgur. And the ayran. With the gulls and the doves. With the breadcrumbs and grill leftovers. And the shawls and the jeans. With the moccasins and the boots. With the smells and the sounds.
With the butchers and the drunks. With the sellers and the chess players.
With the gamblers and the janitors and the children and the divers
and the originals and the celebrities and the cooks and the tailors and the singers
and the clowns and the other cirkus artists.
Cirkus Grønland would gather. Meet. Scrape together. Call out.
We would dance. Together.
Observe. Make groups. Become best friends. Stand close together.
Laugh and shout. And the spit would come out of everybody’s mouths, but we would continue dancing.
But right now we don’t know anymore.
About the chaos and that which is topsy-turvy,
annoying and messy, deliciously helter-skelter,
tight and clammy. Filled with spit and laughter – must be….
set on hold.
Covid-19 has forced the free and crazy universe in the universe in the city in the city into small pieces of art.
Just so you can barely see it.
Just so that it is a bit insisting.
A bit rebellious.
A bit on the edge.
But most of all very very caring.
Mine Nilay Yalcin is a Norwegian/Turkish director based in Oslo. She is an educated actor from Nordic Black Xpress theatre school and has mainly worked as a director since 2006.
Mine focuses on multi cultural and political theatre – with special focus on class struggle. She has worked with youth and marginalized groups. Access to culture for all is one of her main concerns.
Mine is now doing her Masters degree in theatre at Kunsthøgskolen in Oslo with focus on direction and street theatre. The last years she has mainly worked with street and outreach theatre. What emerges in the meeting between theatre and the open street space? She wants to take theatre out of traditional theatre spaces and make sure that theatre also meets those who rarely or never go to the theatre.
Mine often makes short, explosive performances inspired by slam poetry, hip-hop and other forms of street art. In 2018 she made the street performance «Asfaltpuls – paranoia som faen i solnedgang» (Asphalt pulse – paranoia like hell at sunset), by H.M. Hallum. Earlier this year she made «Culpa! I unntakstilstand» (Culpa! State of emergency) by Taro Cooper at Kilden Teater in Kristiansand.