On (a)muse(ment)

I promise this is my last blogpost today. :) I felt the need to put up lots of thing as the blog is re-birthed now.

I am known for having lots of muses, really being my muse is not as difficult as it may seem.

There needs to be a certain flare around you, a sense of force and vitality combined with something vulnerable. I need to feel a sense of beloning but also a sense of being apart. That I can study and be studied. See and be seen.

Usually I know instantly if there is something there. I can not hide from the force in me, telling me to be inspired.

This post is on one of the most important muse's these days. My actor-muse My. We met when we both studied up-north. She was an actor, and a damn fine one, I was a director trying to make my way through. We lived in the same corridor, we shared a kitchen so out-of-standard we were scared, we cooked in crocked pans and drank tea from broken mugs. We shared wine and dreams. We spoke of the only thing that is important. To make art. Art that creates brotherhood and meaning. Art that serves as a connection.

I directed her in a play I wrote called "Christmas- the return" a story I wasn't sure of, a role as a director I was even more unsure of. It was something special, she was great and I was spellbound. Directing in that process was never easy, but the result was true meat. Words and flesh combined. She was my muse.

Recently, I visited her in Karis, Finland. Where she had studied and worked with the director Anna Allgulin. Allgulin's work deals with the mystical, with the actor as a link between the human and the divine. The played Oidipus.

A sweaty, screaming, angsty kind of play, dealing with destiny and free will.

It was an explosion, involving it's audience in a story told here and now. I was childlishy happy and I loved seeing My on stage.
At the after party (seen in picture above) we spoke of projects to come and what we felt we needed to do.

There we made up something we now call "Obs(!)scen."
As in obscene but also as in, "Mind you! A stage".

Having pondered it today as I struggled with a feverish heart and an aching body. I want it's theme to be the boarders between actor and audience, are they necessary?

Is it necessary to only be watch or to watch?

It it necessary for the stage to be a closed room, what happens if we are all involved in creating that room- at the same time both actors and audience?

If a stage is public can we choose not to watch what goes on there?
If a stage is public can I choose not to be on it?

We plan to bring the stage to the public and the public to the stage. We plan to bring the audience to the story and to bring the story out of the audience.

I will update as we go along, now just writing to see what is in it.

Bring us your ideas, stories, longings, and shortcomings. Obscene or not- we will try and make them a base, a stage.