Early Life and Inception of Curiosity
Rúnar Guðbrandsson, an Icelandic actor, director, and playwright, attributes his lifelong curiosity to his upbringing on a small island during the Cold War era. “I had a decent childhood, but somehow this small island and the monotony of the Cold War society fueled my curiosity: What’s around the corner, down the street, across the sea?” says Rúnar. This curiosity became a defining characteristic of his youth.
From Iceland to India: A Journey of Discovery
Immediately after high school, Rúnar embarked on a journey far beyond Iceland’s borders. He traveled mostly on foot from Denmark to India, a testament to his sense of adventure and desire to explore. This yearning to venture into the unknown eventually led him to the world of theater.
Theater Studies Across Europe
Rúnar pursued theater studies in Poland, Italy, the UK, Russia, and other countries. Beyond acting, he has worked as a writer and director while teaching acting and experimenting with various forms of performance art. In 1992, he founded the theater group Lab-Loka, which has received numerous accolades under his direction.
Establishing the Homeless Theater
In 2015, Rúnar established the Homeless Theater, which has spawned various fringe theater projects. He discussed his journey with Halla Harðardóttir and Melkorka Ólafsdóttir on the show Víðsjá on Rás 1.
Early Fascination with Theater
As a child, Rúnar was drawn to books and captivated by theater. He participated in school plays during his primary school years and enrolled in the Ævar Kvaran Drama School in his high school years. “A turning point came during my national exam when our drama club staged Ionesco’s ‘The Bald Soprano.’ It was a revelation for me,” Rúnar recalls. This experience introduced him to the world of absurd theater and sparked his interest in pursuing it further.
First International Experience and Its Impact
Another pivotal moment occurred in 1973 when Rúnar traveled abroad for the first time. “Traveling was rare in those days. It was so expensive to go abroad, but I saved my summer earnings and managed to go,” he says. In Copenhagen, he happened to see two theatrical performances, which ignited a profound curiosity and excitement in him. “These experiences set me on my path,” he explains.
From Acting to Directing and Teaching
“For me, theater is a power station. It’s a mental, emotional, and physical power, and the voice is the invisible part of the body that creates energy among people,” says Rúnar. He attended workshops across Europe, including Odin Teatret in Holstebro, Jerzy Grotowski’s Theater Group in Poland, and with Dario Fo in Italy. In 1992, he and Árni Pétur Guðjónsson founded Lab-Loka, an experimental theater group. “I found my calling in directing and teaching,” Rúnar states.
Challenges and Achievements with Lab-Loka
“During those years, I was teaching at the Drama School, and Lab-Loka was what I wanted to focus on,” says Rúnar. “But it was financially challenging,” he adds. The group was founded in 1992, but in 1996, Rúnar moved with his family to the UK to pursue further studies in theater. “I took the long road to a Ph.D., conducting comparative research on Stanislavski’s and Grotowski’s methods. It was an incredibly enjoyable study, and those were good years in the UK,” he reminisces.
Theater as a Tool for Social Exploration
Rúnar often uses theater to explore society and delve into various stories. He created a play called “Hvörf,” which dealt with the Guðmundur and Geirfinnur case that marked his teenage years. “It was something that had always burned within me,” he says. “This case shaped our society, and I was always trying to understand what was really happening.”
Empowering People Through Theater
“I’m not healing people or saving them. That’s just a side effect I believe happens when people engage in such activities,” says Rúnar. In theater, he creates space for reconciliation and elevates marginalized groups. Along with Ilmur Kristjánsdóttir, he founded ETHOS, the Homeless Theater, working with immigrants, asylum seekers, former prisoners, and anyone interested in performing. “The need was immense for these people to express themselves, have a voice, and meet others,” Rúnar explains. “I wasn’t saving anyone. It was primarily about giving these people a voice, creating art, and telling stories. Of course, I know that behind all this is empowerment, giving people a lot, but that is not the starting point.”
The Ever-Evolving Landscape of Theater
“Of course, theater always reflects the times, finding all kinds of forms and ways,” Rúnar says. “There’s a lot to do, and things happen quickly,” he continues, tirelessly tackling new projects. “The most amazing show I’ve done might just be the next one. I hope to get the support to make it,” he says. “There’s always work to be done. There’s always enough. I’m ready to start the work.”