The theatre group
The theatre association of Reykjavík
Translation from Icelandic to English
Theatre group of Reykjavík,
there history and the centre theatre of Reykjavík.
“All for one, one for all”
The Theatre group of Reykjavík er the oldest one who is active and have not stopped, they are moreover the oldest cultural association of our country. The group was found in 1897, the 11th of January when two groups of amateurs of theatre where joined together. Biggest reason of the founding was when a rehearsal space was build by the pond. When this all happened, the association was assigned to take over the money account where the admission of the latest plays in Reykjavík, since 1854, was put all together. Their first premiere in the new rehearsal space was 18th of December in 1897. Then they but up two danish plays with songs, “Ferðaævintýrið” by A.L Arnesen and “Ævintýri í Rósenborgargarði” by Johan Ludvig Heiberg, directed by Indriði Einarsson.
The association and all its members has been very ambitious from the beginning and whey have worked hard to make a flawless show and grate entertainment for the audience. In their 14th regulation it says “All for one and one for all” and the members follow that regulation strictly.
The founders of the theatre association in Reykjavík where all amateur actors, therefore they all had a day job, so rehearsals and the work connected to the theatre was after hours and on weekends. All the members where same responsibility with the business side of the association and also if the association came to bankruptcy the members had to pay a curtain amount. Democratic dissections where made within the group members, about witch play is chosen and general business. Actors where paid salaries for every show night but usually had there main salaries from there day job.
Even though the public saw the rehearsal space by the pond always as the theatre house, the group was renting it for the association.
Ágrip af sögu Leikfélags Reykjavíkur
,,ALLIR FYRIR EINN, EINN FYRIR ALLA..."
Leikfélag Reykjavíkur er elsta leikfélag sem starfað hefur óslitið á Íslandi og er jafnframt eitt elsta starfandi menningarfélag landsins. Leikfélagið var stofnað 11. janúar 1897 er tveir hópar áhugamanna um leiklist sameinuðust í eitt félag. Helsti hvatinn að stofnun félagsins var bygging Iðnaðarmannahússins við Tjörnina. Félaginu var falin varðveisla eigna Kúlissusjóðsins svonefnda, sem var myndaður af aðgangseyri hinna fyrstu opinberu leiksýninga í Reykjavík 1854. Fyrsta frumsýningin í nýja Iðnaðarmannahúsinu, eða Iðnó eins og leikhúsið var jafnan kallað, var 18. desember 1897 en þá voru frumsýnd tvö dönsk leikverk með söngvum; Ferðaævintýrið eftir A. L. Arnesen og Ævintýri í Rósenborgargarði eftir Johan Ludvig Heiberg í leikstjórn Indriða Einarssonar.
Félagið var frá upphafi mjög metnaðarfullt og félagarnir tilbúnir að leggja hart að sér til að standa fyrir sjónleikjum af hæsta gæðaflokki en í 14. grein stofnlaga félagsins stóð ,,allir fyrir einn og einn fyrir alla...“ en það endurspeglar hugsjónir félagsins og samstöðu félaganna sem hefur haldist til þessa dags.
Allir stofnendur Leikfélags Reykjavíkur voru áhugamenn þ.e. höfðu annað aðalstarf og fóru því æfingar og allt starf leikhússins fram utan venjulegs vinnutíma. Meðlimir Leikfélagsins voru allir meðábyrgir í rekstri félagsins og voru skuldbundnir samkvæmt lögum félagsins að greiða ákveðna upphæð ef til gjaldþrots kæmi. Ákvarðanir voru lýðræðislegar varðandi verkefnaval og almennan rekstur. Leikarar fengu greitt kvöldkaup fyrir hvert sýningarkvöld en höfðu jafnan grunntekjur úr sínu aðalstarfi.
Þó Iðnaðarmannahúsið hafi í huga almennings verið leikhús Leikfélags Reykjavíkur var félagið alltaf leigjandi hússins.
I chose this text from the website of the theatre house of Reykjavík, because I think its interesting how the group started here in Iceland, and Im hoping to be one of them one day. I want to study musical theatre abroad and then come home and act here with the people I have looked up to since I was twelve years old and saw Chicago in the theatre of Reykjavík.
Translation from English to Icelandic
The text in Icelandic:
Við viljum að þú sjáir að þú hafir hæfni og hæfileika til að til að ljúka við og ná árangri frá öllum hliðum framkomu söngleikalistarinnar. Til að ná slíkum árangri, þarft þú að þróa með þér faglega vinnu og góða samvinnu með mikilli og strangri þjálfun. Við munum leiða þig í gegnum það fesli svo þú fáir sem mest útúr náminu, þar sem þú færð persónulega þjálfun, frábæra tækni og metna færni með hagnýta þjálfun í :
# Sam- og einsöng
# Step dans og aðrar tegundir af dans
# Þjálfun í samheldni
Hæfileikar þínir munu verða mun betri á sameiginlegum æfingum eins og þegar er verið að vinna í ákveðnum atriðum og í verklegri verkefnavinnu. Tímar í dans og söng eru í miklum forgangi, eins með leiklisatíma og verkefnavinnu, sem gerir GSA söngleika flytjendur hæfileikaríka á öllum þeim sviðum sem því fylgir og eykur því líkur á miklum framförum sem einstaklingi. Til að ná framförum í þessari starfsgrein skiptir allur undirbúningur miklu máli, sérstaklega á ferilskrá og þar skiptir miklu máli að hafa góða þjálfun á öllum þessum sviðum fyrsta árið og áfram í gegnum öll árin.
Faglegir tímar og verkefnavinna með gestakennurum og sérfræðingum sem draga fram kennslu samtímis iðnaðnum og tryggja það sem þú velur and hjálpa þér að fara yfir alla möguleikana í atvinnutækifærum innan þessa bransa. Það eru mörg tækifæri til að auka verkefni og þróa iðnaðinn.
Á síðasta árinu munu nemendur setja fram sýningu í West End leikhúsinu, þar sem umboðsmenn og gestir innan þessa fags verða boðnir til að sjá sýninguna og á því augnabliki hættir þú að vera nemandi og verður listamaður. Útkoman er sú að þú sem listamður verður tilbúin til að takast á við listræn verkefni sem einstaklingur og eiginleika til að flytja verk á sviði með öðrum leikhópum.
The text in English:
We want you to view yourself as a potential principal artist who can compete and succeed in all aspects of musical-theatre performance. To accomplish this, you will need to develop your professional and collaborative sensibilities through a rigorous process of training.
We’ll guide you towards the development of a clear set of individual technical, critical and evaluative skills, with practical classes in:
• Group and individual singing
• Tap and other forms of dance
• Stage combat
• Contextual studies
Your skills are further developed through integration exercises, scene work and project rehearsals. Classes in dance and singing are highly prioritised alongside acting classes and projects, which enable GSA Musical Theatre performers to become multi-skilled and therefore highly versatile, ensuring their appeal to the industry at large.
Preparation for a flying start to your career commences with repertoire and presentation classes from the first year onwards.
Professional development classes and workshops with guest speakers and practitioners drawn from the contemporary musical-theatre industry ensure currency within your chosen field and enable you to maximise all employment opportunities. There are further opportunities to engage in new projects and practices in the vanguard of contemporary industry developments.
Professional jury opportunities, together with a final showcase presentation in a West End theatre to invited agents and industry guests, complete your transition from musical-theatre student to professional performer.
The result is your development into a highly disciplined, individual and versatile performer who has both artistic integrity and the ability to work in collaboration with others.
I chose this text because it is about one of the schools that I am applying to and that I want to go to next semester. I think it is interesting how the studies are set up, and how intense it is. Students have to work there ass off, it is not enough to be talented, they have to have discipline and will to go all the way and that is my plan. I will go all the way and be successful because this is something I was born to do, even though it took me a little time to belief in my self and make the decision.
An interview with a person connected to the subject field
Anna Margrét Káradóttir is my sisters best friend and she is training my for my auditions that Im going to next semester. She is very professional even thought she has not a contract to the local theatres in Reykjavík. Anna Magga is so talented and every job she decides to do, she dose 100% and she is my role mode in this part of my life. She is strong and goes after what she wants makes things happen. I went to see her and took a interview about the school she went to in musical theatre in United Stated of America.
- Where did you study ?
“Well I studied American Theatre Arts at Rose Bruford and one year at Stephen F. Austin State University.”
- When did you graduated?
“I started in 2008 and graduated 2011.”
- What have you been doing since you came back home to Iceland?
“At first I went to the theatres to apply for a job but I did not get any, so I started taking these little jobs, like being a feast in weddings and parties, singing on some events and things like that and also teaching kids acting in “street theatre” and than I met a friend of mine, Árni Grétar, and we started doing some jobs together with some characters. Then I have been both acting and singing at The Freezer a small hotel for tourists”
- How did “Amma Dídí” start?
“It started with my friend, Árni, we made these two characters and mine was Amma Dídí and then I took her to the next level and use her for a lot of jobs.”
- How did you come up with Amma Dídí?
“Well much of it is from my mom and than I added some inappropriate properties haha.”
Anna Margrét Káradóttir (Anna Magga) is born in Þorlákshöfn, 8th of December 1983. She has been singing since she was a kid and than started acting in school when she was about 16 years old. In 2008 Anna Magga moved to London to study American Musical Theatre arts at Rose Bruford, and thatn took one year at Stephen F. Austin State University in Texas. She got scholarship when she was In London from Sir John Gielgud scholarship for getting the highest grades. In 2011 Anna Magga graduated and moved back home to Iceland, since then she has been doing a lot of small jobs. One of her characters is Amma Dídí, witch is a older, little inappropriate, woman who is single and interested in younger guys and is on Facebook and has Snapchat, Amma Dídí is hilarious. In the summers she works at The Freezer both as a singer and as Amma Dídí, guiding the tourists around the area.
The art festival revolution:
David Binder is a producer, and he went to Sidney in Australia. There he saw an add on the internet about a art festival called Manto and that interested him a lot because it was in the suburb. When he came and saw what was going on he was a little bit surprised, the audience walked the streets, house by house and then the people who lived in the houses came out to there plot and performed for everybody to see. His idea is that art can happen anywhere and artists are explorers, they take you places that you did not even know existed, “a grate festival can show us a map of the world, a map of the city and a map of our selfs”
The reason I chose this video on ted.com is because I love festivals, It is my favorite entertainment. If you go to a festival, you maybe know three or four artists but there are maybe twenty in the whole and then you get to know a lot of new artists and it like a new world is brought to you. I relate going to a festivals to Mars, because you have no idea what is going to happen but you are exited as hell, it is the best feeling ever.
How I started writing songs again by Sting:
When Sting was a kid he lived with his family next to a shipyard, witch was both loud and toxic and dangerous to work in. He found a guitar, with only 4 strings and was out of tune, when he was 8 years old and started playing on it. After a couple of weeks he had self-taught him self on that guitar. Sting had big dreams and he wanted to get out of that place and become famous, as he did. It is known that sometimes songwriters and writers can get writers block and sometimes no idea or words come out of their brain. That is what Sting is talking about in the video, when you have made hundred songs about your self and your inner emotions, you need to change your point of view. Maybe instead of finding something to write about from your eyes, maybe start seeing through someones others, and maybe you discover something about your self that you did not know until you saw it through somebodies other eyes.
I chose this video because I myself am a songwriter and I love Sting, he is an amazing singer and a songwriter. I thought this video was very good, he used jokes and it was fun to listen to him and also he played a lot. I relate to what he was talking about when he was talking about writers block, I think every artist goes through that on one point, when you are siting there by the piano with a blank peace of paper trying to make something but nothing comes out.