”Ymmärrätkö, että sun pitäis hahmottaa ettei sun ikäisellä voi olla viistoistavuotiaan tunne-elämä? Ei elämä oo mikään kasiluokan disco. Ei tää oo mikään SKAM Ilosaarirock. Jos sä käyttäsit sun ajan järkevään, suunnitelmalliseen ja tuottavaan aikuisuuteen niin uskon että kaikki ois tyytyväisempiä.”

Viisi tapaa olla vapaa kuvaa nelikymppisten naisten elämää, jossa perheen, taiteen tekemisen, työn ja omien haaveiden yhteensovittaminen tuottaa tuskaa. Pääseekö perhe retkelle helvetillisen kaakaoepisodin jälkeen? Kuka soittaa nuohoojalle, kun yhteisomistuksessa olevan perintötalon uuni savuttaa? Kehtaako tunnustaa, että sunnuntain paras hetki on se, kun saa olla ihan yksin, omassa rauhassa?

Hektisessä elämänvaiheessa naiset alkavat jakaa toisilleen listoja viidestä asiasta, jotka heitä kaiken keskellä puhuttelevat. Syntyy riemullisen tunnistettavia tilanteita, joissa on paikkansa myös nautinnolla ja hekumoinnilla. Dialogista kasvaa liikettä ja näyttämökuvia, esitys, joka on Myllyteatterin persoonallisella kieliopilla toteutettu intohimojen ja pakkomielteiden amppeli.

Konsepti: Kaisa-Liisa Logrén ja Niina Miettinen
Näyttämöllä: Tatu Mönttinen, Kaisa Niemi, Jarkko Nyman ja Hanna Raiskinmäki
Käsikirjoitus: Niina Miettinen
Ohjaus: Kaisa-Liisa Logrén
Lavastus- ja pukusuunnittelu: Veera-Maiju Murtola
Valosuunnittelu: Luca Sirviö
Äänisuunnittelu: Joonas Outakoski
Kuvat ja graafinen suunnittelu: Cvijeta Miljak
Kuva: Cvijeta Miljak

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The Prize named after the founder of Spazio Teatro Nohma, Teresa Pomodoro, is given annually to a performance that “reveals naked meanings of the human mind and explores man-made materials with exceptional curiosity and uncompromising approach”.

Twelve performances from around Europe were selected to perform at Spazio Teatro Norma in Milan during 2017. The performances were evalued by a jury of experts, including Eugenio Barba (Odin theatre), Lev Dodin (Mali-theatre), Tadashi Suzuki (SCOT, Japan), Ruth Heynen (Union des Theatres de l’Europe) and Enzo Moscato (Italy) Luis Pasqual (Spain). The President of the jury is Livia Pomodoro.

Myllyteatteri’s Kolga was acclaimed by the jury as a performance that follows an unconscious logic, and that is created with high artistry and artistic cross-overs.

The Prize given to Myllyteatteri is a sculpture made by a famous Italian sculptor Carlo Raumos.

KOLGA is a stage interpretation of a poem by contemporary Finnish poet, Tommi Parkko. The performance premiered in Helsinki in October 2016, and was well received by critics and audiences. In 2017 KOLGA got invited to Ireland and Italy, and in 2018 the piece will continue touring Europe and return to Helsinki along with the celebration of Myllyteatteri’s 15th anniversary.

Myllyteatteri was founded in 2003 by theatre director and writer Miira Sippola, to create multi-layered performances drawing on theatrical elements of physicality, strong visual imagery and music. Myllyteatteri’s particular interest is in combining physicality of theatre with metaphysical subjects, portraying the human mind on stage. Myllyteatteri has produced 18 performances in Finland and abroad.
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Press Release

In Case Gala Myllyteatteri takes a step further in special visual theatre-telling. Beside the ten actors on stage the spectator sees ten equal-looking, human size puppets. The carrousel of memory spins around as the the performance leads the spectator through the inner layers of the mind – to the gala itself. 

The visual design – puppets, scenography and costumes – are designed by a wonderful Polish artist, Lukasz Trzcinski. 

The performances in Helsinki 10.10.-14.11.2014, in KokoTeatteri, Hämeentie 3. PERFORMANCE TIMER always at 19, Sundays at 15: 

Fri 10.10. PREMIER / Wed 15.10. / Fri 17.10. / Wed 22.10. / Fri 24.10. / Tues 28.10. / Sat 1.11. / Sun 2.11. (klo 15), Tues 4.11. /, Fri 7.11. / Sun 9.11. (klo 15) / Tues 11.11. / Wed 12.11. / Thurs 13.11. / Fri 14.11.

The Seminar Of Interesting Things – 10 years of weird comparisons by Myllyteatteri, open for all: 17.10 at 2-6 pm at Koko. Welcome!

Actors:
Jaakko Kiljunen, Paula Koivunen, Kaisa-Liisa Logrén, Timo Ruuskanen, Niina Tamminiemi, Kaisa Niemi, Yuko Takeda, Idalotta Backman, Henna Kaikula ja Pilvi Hämäläinen
Concept, text and directing: Miira Sippola
Performance Dramaturgy: Titta Halinen
Scenography, making of the puppets, costume design: Lukasz Trzcinski
Sound design: Joonas Outakoski
Light design: Ville Mäkelä
Producer: Elina Raitis / Myllyteatteri

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Tiedotteet

Myllyteatteri was awarded with The Best Performance Prize in Skupi ITF festival, held for the sixth time in Skopje, Macedonia, in November 2012.

The jury said:

>> ITF SKUPI FESTIVAL is proud to announce that the jury of the festival after carefully considering all the plays presented decided that the winner of the Grand Prix Price for Best Performance is Myllyteatteri from Helsinki, Finland for their Divina Commedia 3.0. >> Myllyteatteri gave to the audience a unique performance, based on Dante’s Divina Commedia and his poetry, but translated and adapted in the language of the theater. Divina Commedia 3.0 creates a unique universe, which is visual in a charming and style way: the costumes, set and light, the stylezed movement language of the performers, carried on with a funny sound plan and the roles of the traveller and the guide, who work as keys for following the story. The performance makes a curing journey through the visually overwhelming scenes. The performance happens ultimately in the head and heart of the spectator. In their own words “Divina Commedia is a journey in a human mind”, an experience that they shared with the audience. >>

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Performances

Divina Commedia 2.0 is performed in Portugal as a part of the Escrita na paisagem Festival July 4th-7th 2012. The crew of the project has been gathered together from Finland, Greece and Portugal. The performance is directed by Miira Sippola.

Myllyteatteri has collected theatre artists from different corners of Europe to the project. The international and interdisciplinary group from Finland, Greece and Portugal creates Divina Commedia 2.0 in a unique and impressive site specific location in an abandoned marble quarry in Vila Vicosa, Portugal, as the part of the Escrita na paisagem –festival venue. The name Escita na paisagem means ”written in landscape”.

The content of the performance

Divina Commedia 2.0. is a theatre play of a man in crisis and the way out of it. It is a theatrical symphony about confronting yourself and finding the beauty.  

Myllyteatteri’s Divina Commedia has the same structure as Dante’s: Hell – Purgatio – Paradise. In Myllyteatteri’s version of Divina Commedia a man gets an invitation from a Child. The man notices that the landscape and people in it, among whom the Child takes him, are familiar. Are they his own family? Society? Collective rules? Powers of his own mind? The journey where the man is taken, appears to be the most dangerous of all the journeys. To get out of the labyrinth one must die. But the prize is timeless beauty which we all shall share.

The languages spoken in the performance are English and Portuguese, with a small tastes of Finnish, Greek and Japanese. The language is not crucial issue in the performance, as the notes are not important in music. The theatrical music is what matters.

Escrita na paisagem Festival in Portugal during July and August 2012, around Evora in the beautiful environment of Alentejo www.escritanapaisagem.net

Links to the clips: https://www.youtube.com/user/Myllyteatteri

Divina Commedia Crew in Portugal

Script and Director: Miira Sippola 
Actors: Diana Niepce, André Salvador, Fábio Moreira, Susana Nunes (POR); 
Nantia Papatheodorou (GRE); Ulla Raitio, Tuomas Tulikorpi, Jaakko Kiljunen, Idalotta Backman (FIN) and Yuko Takeda (JAP).
Scenographic designer: Aili Ojalo (FIN)
Light designer: Anaísa Guerreiro (POR) 
Sound designer: Rui Lina (POR)

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News

Theatre Review: Saari The Island at the Zoo

By Roger Cox, published 28/8/2010

IN THE middle of the stage, a grey pebble sits alone at the bottom of a glass fish tank. The cries of seabirds fill the air. An angry woman starts shouting at them in Japanese.

Then another woman starts singing folksongs in Finnish. If Beavis and Butthead were made to sit through this production from Helsinki’s Myllyteatteri company, they would spend most of the time wearing the horrified, uncomprehending expressions they usually reserve for the music of Michael Bolton.

However, if you’re willing to let your mind wander and fill in some of the blanks in what must surely be the most enigmatic production on this year’s Fringe, you’ll find Saari has a surprising amount to say about solitude, companionship and what it means to be human.

Yuko Takeda, speaking mostly in Japanese, and Kaisa Niemi, speaking mostly in Finnish, are two women who both seem to have travelled to the same remote island in search of solitude. At first they are distrustful of each other and try to keep to themselves, but gradually a bond forms between them as they weather storms together and tell stories.

Unless you speak Finnish, Japanese and English you won’t have a clue what’s going on here for about 75 per cent of the time but, if you’re patient, you’ll find your mind does some interesting things as it tries to make sense of it all.

Saari at Zoo, posted by Lorna Frost, Mon 30 Aug 2010

From silence to speech

An inhabitant of a remote, waveswept island is wracked by loneliness and despair, forlorn, driven even to talk to the birds to interrupt the emptiness. The arrival of a newcomer, tense and neurotic, speaking a different langauage, intent only on demarcating territory and staying apart, seems to promise little.

Yuko Takeda and Kaisa Niemi are powerful and captivating in communicating solitude, effort, despair and cooperation, interest in others, trust and joy in this piece written and directed by Miira Sippola. Everything is elemental and simple, emphasised by the monotones of the set, greys and fawns, reflecting water, fire, stone. Chants and song and lighting are used effectively to tell the story, the haunting sweet sadness of nightfall, the contrast of stillness and movement. The sound by Johanna Storm is perfect.

Gradually we build up a picture of personal memories, collective folk memory, social mores and laws, the intimate relationship of the island dwellers with the water and the other creatures, frogs, seals, who live on and around it. The characters are no longer islands but come to value and love one another. The company succeeds in its aim of communicating something that is forgotten and common to everything living on earth.

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Performances