CRIPPLEWOLF
Photo: Jonas Jeramiassen Tomter
CrippleWolf is based on Ibsen's most supernatural and erotic play, *Little Eyolf*. This avant-garde interpretation unfolds in a dark "sprechgesang" landscape, with hints of David Lynch and *Sgt. Pepper*.
Actor Kate Pendry and musician Audun Aschim experiment with biometric technology, extreme vocal registers, and electroacoustic sound to create an expressive theatrical universe—a mythopoetic space of sonic shadows. Pendry, an award-winning artist, uses theatre to comment on the disharmonies of modern society. Her work blends classical acting techniques with technology.
Her collaboration with composer Audun Aschim has produced a unique form of theatricality. Aschim, a guitarist and composer, works across a wide range of musical expressions, with a unique focus on the guitar's emotional and meaning-making potential. In **CrippleWolf**, the two explore the limits of their ranges as musician and actor, departing from conventional interpretations of Ibsen's *Little Eyolf*. In CrippleWolf, the central female characters are given more room to breathe; they express sexuality, even rage, and admit to a lack of maternal instinct.
Henrik Ibsen is often understood through a narrow and highly traditional lens—even in so-called "modern" versions of his work. Pendry and Aschim suggest that if you really pay attention to what Ibsen was saying, you'll see much more dissonance and nuance than appears at first glance.
The performance is in English.
Credits:
Kate Pendry, dramatiker og skuespiller
Audun Aschim, komponist og musiker
Camilla Svingen, produsent
Supported by:
Norwegian Art Council in collaboration with Nordic Black Theatre
"There was a very beautiful interplay between voice and instruments which made the surreal reality of the play and the world of the play a roller coaster of emotions that made the play a beauty to watch and a terrible pain to digest.
Together, Pendry and Aschim transformed Ibsen’s 1894 classic into a modern-day masterpiece."
The Sun
I"n Cripplewolf, Pendry and Aschim push the boundaries of their artistic expressions.
They reinterpret Little Eyolf in a way that allows the female characters more nuance and complexity beyond traditional readings of Ibsen’s work"
"Pendry’s voice acts like another instrument whilst Aschim via his guitar provides a filmic soundtrack to the text. Together, they will create a mythopoetic space through sonic shadows of just the two performers on stage."
"Pendry’s voice acts like another instrument while Aschim provides a filmic soundtrack through his guitar. Together, they create a mythopoeic space through sonic shadows from just two performers on stage"
The Nation