We tried to present it in a way that would capture the Japanese classic theatre but have given it our own interpretation

Kathmandu:

The performance left one spellbound with its artistic beauty, various forms of art, graceful body movements, effective facial expressions, melodious tunes, poetic language, and most importantly the powerful to soothing yoiking (singing in traditional Sami form) all perfectly entwined together to create a form of art that seemed to have leapt out from a canvas and move beautifully and harmoniously on stage.

The Frost Haired and the Dream Seer, presented by Beaivvas Sami Theater (Norwegian National Sami Theatre) at Gurukul on January 20, was unique and a different treat for the Nepali audience. This play was written by the great Sami poet Nils Aslak Valkeapaa and is the only play that he wrote. In Japan Valkeappa was impressed by the Japanese tradition of Noh theatre, thus the play is based on this form. According to Haukur J Gunnarsson, director, “We tried to present it in a way that would capture the Japanese classic theatre but have given it our own interpretation.”

The play is about a young reindeer herder who is asleep as night falls, and sees an old man with frosted white hair, who shares words of wisdom with the young herder, then disappears. The herder wakes up confused — was it a dream or reality? He wishes to know more and pleads for the frosted hair old man to appear again, who reappears and encourages the herder to believe in his dreams and choose the ones that are really important. The old man also talks to him about the world and the various truths about man and nature. When the old man finally leaves, the young herder seeing the Shamanic cane that the old man has left, wakes up with a new vigour and vitality to live his dreams and his life.

What is very significant about the performance is the slow movements, be it the slow steps or the elegant hand movements, which is left for the audience to decipher.

“This is not a realistic play, every move is choreographed, even the tempo is not naturalistic. We’ve chosen a very strict Japanese form,” said Indra Lorentzen, choreographer and co-director of the play. “I feel body language can express what’s behind the words, though the function of choir is also very important,” she added.

The facial expressions were neither too dramatic nor too loud, but had a subtleness that seemed to pierce right through. However, it was the yoiking that was really amazing. The yoiking — from strong vocals to light ones — that accompanied the performance gave the performance a compelling touch.