Karin Franz Körlof Dramaten debuts

By on August 12, 2017
Sören Vilks

When director Jenny Andreasson takes on Alfhild Agrell’s burning current 1880s play Ensam asks constant questions about equality, honor and love. Premiere at the Little Stage on September 2th.

– It is amazingly fun that Alfhild Agrell now makes comeback on Dramaten after 131 years. She was for a period greater than Strindberg which is said to have disliked her or perhaps above all her success. Agrell was so adept at combining intrigue, emotion and intellect and delivering her subjects: sexual morality, gender equality and maternity with a radical strength – she also does it with a liberating humor! The main character, Thora, is similar in many ways to the characters of the popular SVT series Fröken Frimans krig in her struggle for her own and her daughter’s honor and right to equal value. She goes through the same political and personal imprinted awakening and it’s a story that concerns, says Jenny Andreasson, who previously set up Räddad by Alfhild Agrell for the Riksteatern/Östgötateatern – a performance that was chosen for the Swedish Theater Biennale.

Stockholm at the turn of the century. Thora (Thérèse Brunnander) is unmarried and lives with her infant daughter Yngva (Karin Franz Körlof). In addition, Thoras best friend is a single male doctor. It does not suit the environment. But Thora refuses to feel ashamed.

Ensam is about challenging society’s unwritten rules, honors standards and standing for what you believe, regardless of consequences. The play is also a warm portrait of a strong mother-daughter relationship and an insightful study in inequality, class and the conservative power’s suffocating effect on personal freedom.

The 1880s is a revolutionary decade in Swedish theater history. It is now that the female dramatists finally gets room on our scenes. The tangible reality with its problems and injustices would now be put under debate in the female perspective. Not least by Alfhild Agrell.

Her career at Dramaten became short but intensive. Of the nine pieces she wrote in the 1880s, no less than six were taken on the national scene during the years 1881-86. It compares with her friend and colleague Anne Charlotte Leffler, who got to put up two plays in the same decade, and August Strindberg, who only got to put up one. At the theater, Alfhild Agrell was the great star of the time.

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