Vapautuspassio (Passion Of Salvation)

PROJECT Vapautuspassio (Passion of Salvation) or (Liberation Passion)
DESCRIPTION music theater performance, shot with seven cameras (1:50:00)
DIRECTED BY Juhana von Bagh
PRODUCTION DESIGN BY Marie Antikainen, Salli Kari, Mimi Violette
SHOOTING LOCATION Helsinki, Finland
SOME DESIGN NOTES With two scenographers, collaboration transpired for designs of the shot-for-film theatre performance. Traveling amidst Finland’s paper mills for samples of the potential wall coverings were later tested by the lighting designer. An application of massive, fireproofed paper-mâchéd panels became the neutral backdrop and dividers for the space, with lamps beholding various colored - gels. Patterned stenciling over the gels and shadow-play were enhanced by the paper’s tissue’y, buff character.

FROM TEATTERIKORKEAKOULU (THEATRE ACADEMY ANNUAL REPORT 2010)
Vapautuspassio breaks traditional boundaries and offers a fresh new perspective.”
- Anni-Helena Leppänen, Kansan Uutiset

The performance shows a real drive to question the dated means of mu- sic theatre as entertain- ment and to seek a new direction.”
- Touko Kauppinen, Helsingin Sanomat

Theatre Academy Helsinki, the Aalto University School of Art and Design, the Helsinki Metropolia University of Applied Sciences and the Arcada University of Applied Sciences participated in an extensive project intended to reform Finnish music theatre. Joint workshops led to performances of Vapautuspassio (Passion of salvation) at the Media Centre Lume in March.

“The best thing about Vapautuspassio was the group work. In a group of this size, the director must relinquish control and trust people and the fact that they put themselves on the line. Art must be created together through collaboration,” says Juhana von Bagh, director of Vapautuspassio and a fifth-year student.

After the premiere, the performance was recorded using a multiple-camera setup. Both the performances and the recording have been praised for their high quality, and the cooperation is expected to continue.

The work method used was a variation of Bernd Alois Zimmer- mann’s idea of the spherical form of time (Zeitkugel). In addition to the various time levels, the performance was based on the expressive means provided by acting, movement and

“As a director, I learned to trust that the best ideas come from a clear mind. While the various areas may be equal, mu- sic easily becomes a focus and a dictator,” von Bagh notes.

Pedagogically, the approach allowed the participants to seek and explore the identity of a modern music theatre performer.

“The best supervisors can see the big picture, participate actively, question their own preferences, are unafraid of and welcome new things, and do not merely promote the inter- 2007 2008 ests of their own students, but rather understand the wider
issues,” von Bagh explains.

Vapautuspassio (Passion of salvation) consisted of four sections. Venus passio (Passion of Venus; see next page) featured Olavi Uusivirta and Natalil Lintala. Aino Kivi wrote the section entitled Jossain on aina aamu (It is always morning somewhere). Photos: Helinä Kuusela.

 

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