Dagmar / Maria

This project was a monolog interpreted by Misa Lommi. In her mid twenties she was supposed to portray a woman of 80 years. We realized that within our bodies, whatever the age, there is another mental body that follows no rules but rather leads an emotional age that constantly changes depending on the change in mood. Sometimes the physicality of an old woman with stiffness of limbs took over and sometimes a memory made her jump over the bed and roll around on the floor. The story was based on the life of Maria Feodorovna and described the times where she lived as the Tsarevna of Russia and how she never could accept the deaths of her son and her five grand children that was shot and buried in unknown graves in the woods.

Dagmar / Maria – 60 monolog.

Info

  • Artistic Research Art University Theatre Academy Helsinki
  • Performance 90 min
  • Actor: Misa Lommi
  • Director: Anna Maria Joakimsdottir-Hutri

More projects

/ / / / /

I wanted to work with a comedy topic and started seeing an air balloon expedition. I recalled the tragic Andrée Polar Expedition from 1897 that was lost in the Arctic for 33 years and realised that this was a magnificent topic for comedy. As Woody Allen put it ”Comedy is tragedy plus time”. This was my third research into developing Artistic Collaborative Tools. This time the work group of 4 writer/actors had to work with documentary material.

Category

Theatre
I was involved in the film production at a late state. The independent production outside of national film finance had been struggling to get a musical done with partly private and partly state financed resources. In the process the film material was rejected distribution and the production had to acquire external Artistic support of me as Dramaturg and Film Director. By a total revision of the filmic material I distilled a story that was intended as a subplot and developed this into becoming the main plot.

Category

Film
Drakar is not a story about remembering trauma—it’s about surviving it through transformation. Irina’s dragons are not metaphors; they are survival tactics, visual weapons, emotional mutations. As a filmmaker, I am drawn to characters who rebuild their worlds from the debris of silence. This is a story about a woman who refuses to be defined by what was done to her—but instead by what she creates.

Category

Work in progress