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Credits: Saara Autere


With ›Obsessions‹, devised as a conceptual opera piece, Oblivia dive into the personal as well as political obsessions that drive us.

In movement, gestures and text fragments and to the acoustic and electronic soundscape of the original score by composer Yiran Zhao, the performers shift between ages and places. They pursue recurring patterns of those obsessed with power and those hungry for freedom, all the while revolving around mankind’s never-ending obsession with itself. Within the production’s structure, Obsessions is newly created at every place as local co-production partners as well as local singers and musicians join the team.

Working group
Performers: Alice Ferl, Timo Fredriksson, Annika Tudeer and musicians and singers from Theater Bremen and Oper Wuppertal
Concept & devising: Oblivia working group
Performance dramaturgy: Anna-Maija Terävä
Light design: Meri Ekola
Costume design: Tua Helve
Composition, sound design, and live electronic: Yiran Zhao
Supporting communication & text Germany: Nassrah-Alexia Denif
Communications Finland: RÖD/ Katja Tolonen and Jenni Salminen
Production management: Jenny Nordlund

A co-production of Theater Bremen and Oper Wuppertal with Oblivia as part of NOperas!, the funding initiative of the Fonds Experimentelles Musiktheater of NRW KULTURsekretariat and Kunststiftung NRW.

Arts Promotion Centre Finland, Helsinki City, Svenska kulturfonden, TINFO – Theatre Info Finland/ MOTI funded by The Finnish Cultural Foundation.

Premiere | February 2022, Theater Bremen

Oblivia’s “Do What You Saw” method

It is simple, it is fun and it is a brilliant way of devising material for performances.

The “do what you saw” method have been developed by Oblivia’s core members: Anna Krzystek, Timo Fredriksson and Annika Tudeer over more than ten years of collective work and it is the base for Oblivia’s wonderfully quirky and multilayered performances. The “do what you saw” method is a process for creating and devising material. Through the distilling and sharing that happens in the workshop, the participants create an abundance of material to use in the “big impro” that ends each day. The workshop invites the participants to experience ways to distill and share ideas into action and text. They will encounter ways of working with subtlety, humour, presence and timing.

The workshop is taught by members of Oblivia.

Verdrängen Verdrängen Verdrängen

Oblivia celebrates its 20th anniversary with performance Verdrängen Verdrängen Verdrängen an experimental experimental  music theatre performance about feelings, memories and repression.

It explores the collective European subconscious and the human mind, and delves into shared memories and experiences. The performance revolves around different meanings and interpretations of the German word “verdrängen”. The word can mean rejection, abandonment or displacement.

The performance takes place in a world where the familiar becomes unfamiliar, where the uncanny is the new norm, and where ghosts and aliens move freely. From schlagers to contemporary music, the work has been created in collaboration with the young, talented composer, Yiran Zhao.

We were thinking of ghosts, cellars and attics. We were thinking about all the emotions, people, and uncomfortable things that we push away and put into deep boxes to forget them forever. Just when you are desperately trying to eliminate discomfort from your life, there it is: popping up, returning from the murky realms that nightmares are made of. Just when you sigh of relief: never again.

We were thinking about the importance of home, and chopped up the German word Heimat (homeland) and found ourselves looking at a post-Heimat time. The word is associated with stale nationalism, but it also describes the need to belong. There is a fundamental need to be accepted and seen, and of course, the birthplace for this need is in the family. 

It has been liberating to make the performance and work with emotions, more than ever, yet what you will see is also the format for suppression. We also found the Oblivia motto “facing the unknown”. In the performance, we encounter unimaginable whims and surprises of the mind. For what is the mind and the body, if not the basis of humanity?”

– Annika Tudeer, Oblivia’s performer and artistic director

“Se on tehnyt suuren teoksen, joka uskaltaa näyttää eettiset periaatteet hauraina, lepattavina, ajan jauhamina – yhtä syyllisinä maailman tilaan kuin muutkin.”

– Maria Säkö, Helsingin Sanomat

Premiere | 7th of February 2020, ECLAT Festival at Theater Rampe, Stuttgart

Working group
Performers: Alice Ferl, Timo Fredriksson, Annika Tudeer
Devising: Alice Ferl, Timo Fredriksson, Anna–Maija Terävä, Annika Tudeer
Performance dramaturgy: Anna-Maija Terävä
Light design: Meri Ekola
Costume design: Tua Helve
Composition, sound design, and live electronic: Yiran Zhao
Songs and vocal work: Alice Ferl, Timo Fredriksson, Anna-Maija Terävä and Annika Tudeer
Production: Oblivia/ Jenny Nordlund in collaboration with RÖD/ Katja Tolonen and Jenni Salminen and ehrliche arbeit/ Elena Polzer

Theater Rampe, Stuttgart (DE), ECLAT new music festival Stuttgart (DE), ARGEkultur Salzburg (AT), Espoon Kaupunginteatteri (FI), Tampereen Työväen Teatteri (FI) 

Arts Promotion Centre Finland, Helsinki City, Konstsamfundet, Stiftelsen Tre Smeder, Svenska kulturfonden, TINFO – Theatre Info Finland/ MOTI funded by The Finnish Cultural Foundation, Goethe-Institut Finnland; das NATIONALE PERFORMANCE NETZ Koproduktionsförderung Tanz, gefördert von der Beauftragten der Bundesregierung für Kultur und Medien; i-Portunus.

Light Box, Detroit

Light & Easy – a work about being human

Light & Easy is a performance about time, death and loss. And about seizing and cherishing the moment. The three performers Timo Fredriksson, Anna-Maija Terävä and Annika Tudeer create also the vocal sound world.

Light & Easyis an hommage to Oblivia’s founding member Anna Krzystek, who died in a traffic accident in the autumn 2017. Her sudden death shocked the company. The performance deals with the grief and is a step towards a time without Anna among us.

“We started off by improvising around the theme – lightness, to see what was going on inside us at that very moment. The funny hand-movements that occurred to me stemmed from Anna in the performance the Room, that we made in 2002 together with Anna and Timo. Strong corporeal memories of Anna’s movements kept coming to me during the process. Some came from her early solos in the series the Wait and her favourite sound world: the white noise of a transistor radio. For a brief moment I became Anna. Then, the performance proceeds towards new landscapes. A deeply glowing ellips, was the sense of the emotion during that passing moment. Grief has many faces” says Annika Tudeer.

Light & easy is a part of a series of performances dealing with emotions. The next work Verdrängen, Verdrängen, Verdrängenis dealing with the mechanisms of and associations to the German word ”verdrängen” (to repress, to displace). The performance premiers in February 2020.

Esiintyjät ovat kuin antenneja, jotka etsivät signaalia – jotain merkkiä. Niin keskittynyttä, niin täyttä ja kuitenkin haurasta! Mutta samalla murskaavan epätietoista, hämmentynyttä, ikään kuin jäljellä ei olisi mitään, mihin tarttua, mitään, mitä etsiä.

– Matti Tuomela, Kulttuurilehti Mustekela

24th of November 2018, Zeitraumexit, Mannheim

8th of June 2019, at 4.15 pm Hangö Teaterträff, Astrea, Hanko.

Working Group
Devising and performing:  Timo Fredriksson, Anna–Maija Terävä and Annika Tudeer.
Light design: Meri Ekola
Costume design: Tua Helve
Production: Oblivia / Jenny Nordlund

Supported by
Svenska kulturfonden, Taike – Arts Promotion Centre Finland, Stiftelse Tre Smeder, Konstsamfundet, Eugène, Elisabeth och Birgit Nygréns stiftelse

Children and Other Radicals

Oblivia has invited a group of young people from Helsinki and Essen to join the working group for Children and Other Radicals. The teens work with artists in an equal setting, using art to look at money and economic structures. The performance consists of different generations considering the division of power and the role money plays in it. As generations X, Y and even Z use the stage to express their views of the future, the result is both humoristic and deep.

The performance is not language-based and is suitable for anyone over the age of 10. Duration: 45  min.

Annika Tudeer opens up the process of making of Children & Other Radicals,
in Finnish Ruumiillista rahan käsite ja ole osa maailmaa
auf Deutsch Die Idee vom Geld verkörpern und ein Teil der Welt werden

The premiere | 24th of May 2018 at Dangerous Minds Festival in Kampnagel, Hamburg, Germany

Working Group
Performers (Helsinki version): Marie Bergholm, Mikko Bredenberg, Alice Ferl, Timo Fredriksson, Amos Korkeamäki, Saga Korkeamäki, Victor Lietz, Anna–Maija Terävä, Annika Tudeer and Max Uusitalo
Performers (Essen version): Kelly Anspach, Lyra Atud, Orlando Atud, Amal Bachir, Manami de Bartolo, Niels Bovri, Irina Byambaa, Alice Ferl, Timo Fredriksson, Anna Galli, Ani Javoevi, Anna–Maija Terävä, Annika Tudeer, Azeezat Zakari
Direction & script: working group
Costumes: Tua Helve
Costume maker: Anni Konttinen
Lights: Meri Ekola
Sound: Alice Ferl

Production: Oblivia/ Jenny Nordlund
Co-produced by Kampnagel, Hamburg; PACT Zollverein, Essen; Forum Freies Theater, Düsseldorf; Helsinki Festival & Goethe-Institut Finnland.
Supported by Arts Promotion Centre Finland, Elbkulturfonds der Kulturbehörde Hamburg, Finnland-Institut, Helsinki City, Konstsamfundet, Stiftelsen Tre Smeder, Svenska kulturfonden & TINFO – Theatre Info Finland.

Nature Theatre of Oblivia

– performance and AR experience

We want to be trees. We want to serve as carriers of time.
We want to be mushrooms, fungus deeply rhizomised.
We are nature. Object of nature. We are the point where nature and technology meet. And – the sky is just there.

Nature Theatre of Oblivia works with the impressions, experiences and desires that nature offers us, as a concept and as a place to be, and something to become – like a forest in all its familiarity and uncanniness.

The project will be exploring our relation to nature in a technologically charged world. Nature Theatre of Oblivia will be using performance, and augmented realities – AR, Arilyn technology creating a two-fold experience where the live-performance is one part and the smart phone performance – Oblivia in the pocket using the Arilyn app – another.

Nature Theatre of Oblivia is a live performance and an augmented reality (AR) work, which  is part of the and co-produced by the TECHNE project at Theater Rampe and Künstlerhaus Stuttgart in Germany.

Martina Grohmann, Intendantin of Theater Rampe, Stuttgart on Nature Theatre of Oblivia:

“In this performance Oblivia confronts theatrical techniques with those of nature. A forest occupies the Nature Theatre’s stage. A soft breeze catches in the trees: diffuse light flows over a widely ramified rootsystem. A rock lies motionless. A faint murmur fills the the tranquil scene. Then nothing. Suddenly, animals scamper past, stop listen intently, and vanish again. Or are they joggers? An owl’s call pierces the night.

The stage, throughout these scenes, stands empty: only the performers simulate the forest or are present as a forest. They immerse themselves in the specific laws. Its atmospheres between day and night, calm and storm, the slowness of trees and the agitation of fleeing animals inform the dramaturgy. Minimal gestures and movements, the sound of their voices and their bodies are the elements out of which the performers, in constant interaction, develop a richly rhythmical, nuanced, and often comedic tableau.

The Oblivia ensemble devised and honed the underlying technique, which they call ”Do what you saw” in a series of projects. It lets the performers create a fragile yet engrossing space of shared theatrical experience enveloping the audience.”

Working Group
Devising: Working group
Performers: Mikko Bredenberg, Alice Ferl, Timo Fredriksson, Anna–Maija Terävä and Annika Tudeer.
Light: Meri Ekola
Sound: Alice Ferl
Costumes: Tua Helve
Augmented reality: Arilyn
Production: Oblivia/ Marina Andersson-Rahikka, Jenny Nordlund
Co-produced by the TECHNE project at Theater Rampe and Künstlerhaus Stuttgart in Germany;
supported by AVEK – The Promotion Centre for Audiovisual Culture & TINFO Theatre Info Finland

The premiere | 22nd of June 2017, Theater Rampe in Stuttgart.

Technical Rider | Download here


Oblivia creates their first performance for children and young people. The starting point of the performance is Voltaire’s novel Candide (1759), but as usual in Oblivia’s work, the point of departure will be used in a many-faceted and fun manner.

Candide is surprisingly current today, being the story of a young man who is driven away from his paradise in Westphalia and travels the world, seeing and experiencing atrocities and evil and ending up with his friends to cultivate their garden in Turkey.

The challenge we take on is how to translate this violent (yet light and funny) novel into a performance for a young audience. The feeling of speed and lightness that is inherent in the novel intrigues us and we ask ourselves whether we have progressed very much from the 18th Century.

Performance language: Swedish

Working group

Devising, on stage: Timo Fredriksson, Annika Tudeer
Dramaturgy: Harriet Abrahamsson
Light design: Pekka Pitkänen
Sound design: Markus Heino
Costume: Mi Duncker
Philosophical assistance: Joel Backström
Video: Christopher Hewitt

Collaboration with Ung Dramatik project

The premiere was on the 22nd of March 2017 at Hurraa! Festival in  Mad House Helsinki (Suvilahti, Helsinki).
Technical Rider | Download PDF
Technical Rider, tour version | Download PDF

No(s) Futurs

No(s) Futurs deals with the children’s visions of the future, written and performed by children! No(s) Futurs is created in collaboration with Finnish live art collective Oblivia and Théâtre Nouvelle Generation (TNG), Lyon and director Joris Mathieu together with a group of five Finnish 11-13 year old children.

The performance was created in an international workshop for children and youngsters from Brazil, Romania and Finland taking place in Lyon. After the workshop the Finnish children built their own future world into a performance. The performance is based on the work in the workshops and Oblivias working methods.

Working group:
Directing: Oblivia | Timo Fredriksson and Anna-Maija Terävä
Performers: Amos Korkeamäki, Matilda Korkeamäki, Marie Bergholm, Max Uusitalo, Victor Lietz
Sound design: Markus Heino | Light design: Pekka Pitkänen | Video: Markus Heino & Siegfried Marque
Théâtre Nouvelle Generation (TNG), Lyon: Joris Mathieu and team

Performance language: multilingual

The premiere was on the 18th of March 2017 at Hurraa! Festival in Mad House Helsinki (Suvilahti, Helsinki).

Do be do – MOPMA 5

Fifth and final part of Museum of Postmodern Art Series.

This is the end and a new beginning. We live the era of the monsters, in which the only bravery that is required is to remain humane.

Do be do – MOPMA 5 arrived in today’s world. How to present the present? What is postmodernism in the present? What is carpe diem anyway? In order to get at the here and now we oscillate between the past and the future and like Tarzans dangling in the liane we fly over the abyss that is today.

When we started the MOPMA series in 2012 we knew that we were at a crossroad. Today we know what road it chose and 2012 seems like another era.

Based on the “Do what you saw” method that Oblivia has developed as a starting point for their processes, Do be do – MOPMA 5 will take “Do what you saw” into a performance with six performers. In Do be do – MOPMA 5 “do what you saw” will for the first time be presented in a performance context. Do be do – MOPMA 5 is the live history of an era and the autobiography of Oblivia.

Working group
devising and performing: Mikko Bredenberg, Andrius Katinas, Maija Hirvanen, Anna-Maija Terävä, Timo Fredriksson, Annika Tudeer
light: Meri Ekola
sound: Juuso Voltti
costumes: Tua Helve
production and marketing: Oblivia, Marina Andersson-Rahikka, Heidi Backström

Premiere | 3.10.2016 at CIRKO, Helsinki

Invisible Works


Christopher Hewitt and Timo Fredriksson are recreating UK artist Gary Stevens’ Invisible work from 1986. Premiere on October 12th, during MOPMA.

Invisible Work, a two-hander that uses comedy double-acts as a starting-point. It was the first significant performance by Gary Stevens and the start for a 30-year career. His co-performer in the work was Julian Maynard Smith, director Station House Opera.

I have been a great fan of Gary’s work for many years. Although I have never actually saw Invisible Work live, I have been intrigued by it for many years. Some time ago Gary gave me a copy of the original script, which we are now using to recreate the performance. It is a very unusual piece of work, that we are only starting to understand as we work on it.” – Christopher Hewitt

Premiere 12.10.2016 Cirko, Helsinki (Kaasutehtaankatu 1, 00530 Helsinki)

Working group: Christopher Hewitt & Timo Fredriksson

Annika goes Stand-Up

Annika Goes Stand-Up

It all started with a mistake, a quite essential one: so stand up is NOT improvised? Too late for this vital information, thank you very much. It is only 20 minutes to go for the first “Annika goes stand up” ever.
Annika goes stand up is not necessarily even funny. Although it can be outrageous and shamefully shameless. It is a journey through the head of Annika taking the pulse of the time here and now. Annika Tudeer, the leading lady of performance company Oblivia did her debut as a stand up comedienne in spring 2016 in Mad House Helsinki. 40 minutes of free association: stories, feminism, neo-liberal bashing, dancing, and no jokes, by the stunning, award-winning performer Annika Tudeer.

Concept, performance: Annika Tudeer
Photos: Saara Autere
Production: Oblivia
Coproduction: Mad House Helsinki

Annikas Sacre

After the success of the solo Annika does Swanlake, Annika Tudeer, the artistic director and performer in Oblivia is making a solo based on Sacre du Printemps, the Rite of Spring Nijinskys ballet to Stravinskys music. The scandalous ballet with the famous uproar during the premier in 1913 has since then been re-made in a variety of interpretentions.


”It is like having porridge in the morning. At some point you just have to do it. Choreographers do their rite of passage by adding their version of Sacre to the list. We have: Pinas, Maurices, Angelics, Rogers, Teros, She she pops Rite of Spring…etc, now it is time for Annikas Sacre”.

Premier was 10.12 2015 at the national Swedish Theatre, Svenska teatern, in Helsinki. After that Sacre has been performed at Hangö Teaterträff in Hanko, Finland.

Working group:
text, performance: Annika Tudeer
dramaturgy, direction: Timo Fredriksson, Lina Teir
sound: Juuso Voltti
light: Meri Ekola
costume: Tua Helve.
production: Oblivia, Marina Andersson-Rahikka
co-production: Svenska teatern.

And so on and so forth

And so on and so forth … The phrase, which suggests that something may continue endlessly … If we have enough imagination … Or is it a metaphor for the tedious repetition of always the same … Or depicts the moment when the mind is so weak and drained that can only sighs “and so on and so forth” … And somewhere here begins our performance. “There is only one really serious philosophical problem, and that is suicide,” says Albert Camus. Nevertheless “Should I kill myself?” this truly essential question remains without any reasonable answer up to date. Why the hell are we then still so passionately in love with Reason?

The performance was the result of cooperation of an international performance company Oblivia and ViaNegativa. What connects both groups is that each of them fosters its unique form of performing, bound to constant reduction to the most basic performing language and strategies of staging. There are also great differences to be noticed between the groups, arising from different creative procedures. Six performers traveling since March on the route Helsinki – Ljubljana searching for stories, images, situations and developing a common performing language.

Premier was 7.12.2015 at Old Power Station, Ljubljana, Slovenia
Produced by Oblivia & ViaNegativa

The Rave – MOPMA 4

It is over and high time to put postmodernism in a museum thought Oblivia and started the performance series Museum of Postmodern Art in 2012. The performances MOPMA 1, Super B and Ka-boom deal with postmodernity and existence from different perspectives.

MOPMA 4- the Rave is one take on postmodernism in a live streamed performance.

The concept: Oblivia is having a rave in an adjacent studio. This is streamed to the hosting venue. The stream is accompanied with a special audio.

In MOPMA 4 – the Rave we were asking ourselves: what is the performance of the future? We thought about different ways of connecting with eachother and the audience and came up with a live-stream rave.

Premiere was 10.10.2015 at Mad House, in Helsinki.
The Rave has been streamed/performed also at Helsinki Festival in Kiasma, Te Uru Contemporary Gallery, Titirangi in Auckland.

Oblivia is looking for hosts for the live stream in October 2015. Please contact us if you are interested in organising a special rave. You need a projector, space for a life size projection and loudspeakers for the audio. After October 2015 the streaming will happen on demand.

Working group:
Meri Ekola, Timo Fredriksson, Christopher Hewitt, Anna-Maija Terävä, Annika Tudeer, Juuso Voltti.
producer: Marina Andersson-Rahikka.
production: Oblivia, Mad House.

Kristinsson & Fredriksson

In this durational performance the two performers are telling stories while having a traditional Chinese tea ceremony. The tea making is acting like a clock and gives rhythm for the story telling. The stories deal with themes such as name, identity, running marathons and other not quite so successful attempts at gaining recognition in life.

Performers, devising: Timo Fredriksson, Magnus Logi Kristinsson.

Annika does Swanlake

Annika does Swanlake

Annika uses the ballet Swanlake as a framework for the performance and deals with the fact that the idea of making Swanlake into a solo was not such a great idea after all. My intention was to make a solo of Swanlake. Very soon I realised that the template felt both stuffy and dated. However much I tried, I could not be too enthusiastic about the story of a young man that falls in love with a swan on his coming to age birthday. Yet I was drawn to Swanlake. The challenge to make something intimate of something on that grand scale was of course titillating. ” Apart of Swanlake the solo consist of (semi) autobiographical strands and Annika returns to her life in literature and gender studies in the 1990’s, and to her experience of dance analysis and dance criticism. Annika does Swanlake has been processed at Mad House, ESKUS and at the Mykorhizzia residency at Uferstudios, Berlin where nothing and yet everything happened. The solo is performed in Swedish or in English.
Working group
devising, performer: Annika Tudeer
light: Meri Ekola
sound: Juuso Voltti
costume: Tua Helve
dramaturgy: Lina Teir
production: Oblivia, Marina Andersson-Rahikkka

Premiere | 27.2.2015, Eskus, Helsinki.
Annika does Swanlake has been performed also at FFT in Düsseldorf, Wasa teater in Wasa and New Performance Turku Festival in Turku.

Ka-Boom – MOPMA 3

The third part in the MOPMA series

Oblivia already explored the concepts of reason and emotion twice previously in their Museum of Postmodern Art and Super B. Ka-Boom, the third in the series, was premiered at Helsinki Festival in August 2014.

While the first two installments examined the past and the traces of it left in the present, Ka-Boom travels into the future and turns to look at the present day from this new vantage point. What can be done if everything has already happened?

Ka-Boom premier was at Helsinki Festival 18.-19.8. 2014.
After the premiere, Ka-Boom has been performed at Media Centre Lume in Helsinki and at PATHOS München in Germany.
Performed in English.

Working group:
devising and performing: Timo Fredriksson, Magnus Logi Kristinsson, Anna-Maija Terävä, Annika Tudeer
sound design: Juuso Voltti
light design: Meri Ekola
costumes: Monika Hartl
production: Oblivia, Marina Andersson-Rahikka
co-production with Pathos München, Theaterdiscounter Berlin, TUTKES/Tampere
in co-operation with Helsinki festival & Korjaamo Teatterin Stage-festival

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Technical Rider – All-in-one (Stage, Lighting & Audio Requirements) | Download here >>

Super B – MOPMA 2

Super B

Back in the day, when the curtains of the theatre opened, the stage presented itself as a battlefield of good against bad, beauty against ugliness, intelligence against stupidity, reason against madness, god against devil, science against religion, man against woman. Audiences got used to the perfection of the cathartic machinery of the Enlightenment. Here they were, nailed down to their numbered seats, surrounded by darkness and doomed to passivity. Longing for the beautiful resolution in the end. But what if there was no curtain any more? And what if the peripety never came to an end? Or the whole thing began with a cathartic moment, a beauty that is just there to be thrown into the dustbin? And what if dramaturgy was suspended by squeezing its conceptual paradigms into every single moment of theatrical action?

In Super B, OBLIVIA turn their view on the theatrical process upside down. After exploring the dangerous shallows of pop culture in Entertainment Island and post-modernity’s secret codes of desire and oblivion in MOPMA 1, OBLIVIA is embarking on a new adventure: to question and explore the remains of theatricality in the performing arts. SUPER B is not about presenting or representing these remains. And it is not about taking the audience on a museum tour. OBLIVIA look at the leftovers of theatre not with child-like curiosity, but with a sneaky wink in their eyes. A hypertrophic attempt at gluing good and bad together again – and mending the wounds that postmodernism has inflicted on them.

The Finnish premier of Super B, the second performance in the series Museum of Postmodern Art will be at LUME in Helsinki 14–15.11 during the Baltic Circle Festival. World premier at Bastard festival, Avantgarden, Norway in September 10-11.9.2013.

Working group:
devising & on stage: Timo Fredriksson, Anna Krzystek (UK) & Annika Tudeer
sound: Juuso Voltti
light: Meri Ekola
photography: Eija Mäkivuoti
graphic design: Pia Pettersson
production manager: Oblivia/ Marina Andersson-Rahikka, Passanten GMBH/Christian Koch
co-production: Avantgarden (N), Baltic Circle (FIN)
supported by Arts Promotion Centre Finland, Svenska kulturfonden, City of Helsinki Cultural Office

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Technical Rider – All-in-one (Stage, Lighting & Audio Requirements) |  Download PDF

Museum of Postmodern Art 1

It’s over! Postmodernism is over. As the mainstream clings feverishly to the expressions of postmodernism artists are moving forwards, towards new ‘isms’. In our newest long-term project we put postmodernism in a fictitious museum and deal with issues of today, the past and the future. We are happy to move forwards towards new horizons and to address existential questions: who are we? how did we get here? and did postmodernism affect us in the end anyway?

Oblivia set itself a megalomanic task: to do something that is new. Elegantly and only seemingly disoriented they wander about our known world as if through a dark theatre. They’re not afraid to fall through the trap doors of evolution or look behind the scene of cultural history. They dissect emotional and intellectual concepts alike and dig deep to the roots of language itself. What they finally pull on the big stage and send marching down towards their audience is at the same time absurd, monstrous and yes, totally new. Humour has a new name, performance a new language, the future a new face: this is Oblivia, profoundly philosophical, highly intelligent and seriously funny.

International premiere was 16.–17.11. 2012 at PACT Zollverein in Essen.
Finnish premier was 23.-24.11.2012at Espoo City Theatre.
MOPMA pt. 1 has also been performed at Media Centre Lume in Helsinki, Tramway in Glasgow, UK, New Performance Turku Festival in Finland and at Full Moon Dance Festival in Pyhäjrävi, Finland.

The performance is the first in a series of five and part of the five-year project Museum of Postmodern Art – MOPMA which is produced in cooperation with international and national partners between 2012 and 2016.

Working group:
devising & on stage: Timo Fredriksson, Anna Krzystek (UK) & Annika Tudeer
sound: Juuso Voltti
light: Meri Ekola
photography, documentation & web co-ordination: Eija Mäkivuoti
graphic design: Pia Pettersson
production: Oblivia, Marina Andersson-Rahikka
co-production: PACT Zollverein (Essen, Germany), Espoo City Theatre, TEKIJÄ (Theatre Touring Network project)

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Technical Rider – All-in-one (Stage, Lighting & Audio Requirements) |  Download PDF

Entertainment Island

Drilling through the vast world of entertainment and popular culture, from the shiny surface to the murky and private regions underneath, Oblivia’s Entertainment Island Trilogy is moving from the grand entertainment industry through local and to private entertainment, exploring entertainment and popular culture.

The trilogy has been touring since 2008 i.e.: in Kiasma Theatre, Helsinki, Finland | Baltic Circle Festival, Helsinki, Finland | Rosso Bastardo Live, Italy | PACT Zollverein, Essen, Germany | Fluxee, Turku, Finland | OKNO Festival, Szczecin, Poland | National Theatre, Faroe Islands | Lókal festival, Reykjavik, Iceland | Entréscenen, Aarhus Festival, Denmark | Dance in August, von Krahli Theatre, Tallinn, Estonia | Hangö Teaterträff, Finland | Center for Contemporary Art – CCA, Glasgow, UK | Residenz Theatre, Munich, Germany | MDT – Moderna Dansteatern, Stockholm, Sweden | Avant Garden, Bastard festival, Trondheim, Norway | Yeah Yeah Yeah festival, Zürich, Switzerland | SPILL festival 2013, Soho Theatre, London | Teatr-Akcje Festival, Suwalki, Poland | Nordwind: Hau, Berlin, Germany | Nordwind: Kampnagel, Hamburg, Germany | Mad House, Helsinki, Finland | Spill Festival, Ipswich, UK + more to come!

Entertainment Island 1
Entertainment Island 1 an energetic take on the structures of the entertainment industry. An array of gestures, movements and sounds emanating from the entertainment industry are presented in this energetic performance unveiling the mechanisms of popular culture.
We spent weeks doing funny walks and telling bad jokes while pulling out false limbs and making funny faces. We were stuck and not the least funny. We had to face what we knew from the start: we are not entertainers. Entertainment Island 1 premiered in October 2008 during the /theatre.now festival at Kiasma Theatre.

Entertainment Island 2
Entertainment Island 2 a hilarious performance on lifestyle, news and soap operas, where local culture meets global. The constant bombardment of moving images juxtaposed with passivity of mind uncovered a new approach. We embodied the fuzzy quality of bad television. A series of commercial breaks, wild west, super heroes, shoot outs, feel good, seedy bars and corrupt affairs rushes past, leaving all but a trail of pulp. Entertainment Island 2 premiered in November 2009 during the Baltic Circle festival at Kiasma Theatre.

Entertainment Island 3
Entertainment Island 3 shows the dark side of popular culture through a look at private entertainment in a minimalist manner characteristic for Oblivia. There we were, locked in a dark rehearsal room wondering what would be the next approach in our exploration of entertainment. We found ourselves submerged in the darkest recesses of a warped imagination. The notion of private entertainment led to an excursion into the world of voyeur. Entertainment Island 3 premiered during the Baltic Circle festival.

Working group: devising and on stage: Timo Fredriksson, Anna Krzystek, Annika Tudeer; lights: Meri Ekola; sound: Juuso Voltti; photography: Eija Mäkivuoti; production: Oblivia, Marina Andersson-Rahikka; co-production: Kiasma Theatre, the Museum of Contemporary Art, Helsinki; supporters: CCA Centre for Contemporary Art (UK), PACT Zollverein (GER), Produforum, Svenska Kulturfonden, Arts Council Finland, Arts Council Helsinki, Kulturkontakt Nord, Nordic Cultural Fund, Alfred Kordelin Fund, AVEK, Arbetets Vänner, Sparbanksstiftelsen

Entertainment Island is also
Film | Time Passes In a vast landscape two characters are digging holes in the ground. They argue about shovels and the structure of the holes. They take breaks and look out. The silent film combines silent slapstick with long shots of stillness. Time Passes looks at entertainment from an existentialist perspective.

Exhibition | The Entertainment Island photo series by Eija Mäkivuoti (FIN) relates to different photographic genres capturing subtle yet iconic images of pop culture and entertainment.

Entertainment Island Infosheet | Download PDF
Technical Rider – Audio Requirements |  Download PDF
Technical Rider – Lightplot | Download PDF

More performances


Everything You Say Will Become Dust Anyway
Premiered at Kiasma Theatre, Helsinki, Finland


We’ll Never Let You Go
Premiered at Plateux Festival, Mousonturm, Frankfurt, Germany
Cable Factory, Helsinki, Finland


Bodies Ar No Good
Cable Factory, Helsinki, Finland


Me – A Caption
Cable Factory, Helsinki, Finland


Dogs – Vi är också andras hundar
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Oblivia’s Room


You Can Call Me Art
Studio Là bas, Cable Factory, Helsinki, Finland


Adaptation of What Where, VR Warehouses, Helsinki, Finland
Att tänka på flygning, Tramway museum, Helsinki, Finland
Aborrens dilemma, The Winter Garden, Helsinki, Finland
Inte ens Tjechov var där, The Old Customhouse, Helsinki, Finland