Joey Christ Critiques the Icelandic Theatre Scene
Jóhann Kristófer Stefánsson, widely known by his stage name Joey Christ, has received some notable advice during his career. A close friend once suggested he leave the performing arts after feeling uncomfortable during his final project at the Iceland University of the Arts. Despite this, Jóhann has carved a niche for himself not only in music but also by exploring the Icelandic theatre scene in his latest television show, “Sviðið.” His insights were recently shared during an appearance on Rás 1’s program, “Lestin,” hosted by Lóa Bjarkar Björnsdóttir.
Theatre’s Relevance and Audience Engagement
Jóhann Kristófer’s main frustration with theatre is the perceived irrelevance of the audience. He believes that theatre should demand something from its audience, fostering a dialogue rather than a passive viewing experience. “I find it doesn’t matter that I’m there,” he remarked, emphasizing the importance of the audience’s role in the theatrical experience. During his studies, Jóhann focused on creating theatre that engages and challenges its viewers, an approach he carries into his work today.
The Need for Experimentation in Icelandic Theatre
Jóhann laments the lack of experimental work in Icelandic theatre, which he feels should mirror contemporary society. His recent theatre experiences left him questioning the purpose and audience of the performances. “It’s often enough for a play to be entertaining, but I’ve become more demanding over the years,” he noted. Jóhann desires theatre that is both accessible and challenging, longing for productions that reflect the fragmented and often absurd nature of modern life.
Reflecting Contemporary Absurdity on Stage
Jóhann seeks to capture the fragmented narratives and absurd realities of contemporary life on stage. With a world that seems more surreal by the day, he argues that theatre should reflect these multifaceted views. “There’s so much humor and irony in today’s world, and theatre should capture that,” he asserted. For Jóhann, the unpredictable nature of current events—whether it’s political absurdities or natural disasters—should be mirrored in the theatre.
Social Media’s Influence on Theatre
Social media plays a significant role in shaping today’s worldview, especially among the youth. Jóhann finds this a fascinating challenge for theatre to address, as it involves complex dynamics full of tension, drama, humor, and sadness. He observes that everyone is now an “expert” in being an expert, a notion he feels should be explored on stage.
The Stagnant State of Icelandic Theatre
Jóhann attributes the lack of innovation in Icelandic theatre to the control of a small, homogeneous group over what is staged. “There are few voices and perspectives being represented,” he explained. This limited diversity stifles creativity and experimentation, leading to a stagnant theatrical environment. Jóhann recalls past theatre groups that experimented with forms but notes a reluctance to engage in such endeavors today.
The Future of Icelandic Theatre
Despite these challenges, Jóhann remains hopeful for the future of Icelandic theatre. He believes that a wealthy nation like Iceland should boast a vibrant and experimental performing arts scene. “We should be conducting experiments, challenging forms, and embracing new ideas,” he urged. Jóhann worries that the current theatre scene may fail to resonate with younger audiences, who speak a different language shaped by social media and influencers.
As a passionate advocate for theatre, Jóhann Kristófer Stefánsson’s insights highlight the need for Icelandic theatre to evolve and engage with contemporary audiences in more meaningful ways. His call for a theatre that reflects current realities and challenges traditional norms is one that resonates with artists and audiences alike.