[CANCELLED] Sivuhenkilöt

Bone Chamber

Due to an injury of a performer, the Bone Chamber performances by Sivuhenkilöt in Stoa 24.-27.4.2024 are unfortunately cancelled.

We will be in touch with all of the ticket buyers through Tiketti during Monday and Tuesday. We are very sorry for the inconvenience and wish the injured performer a speedy recovery.

Bone Chamber, presented to full audiences in the fall and praised by critics, is back on stage!

Sivuhenkilöt is an artist group formed in 2016. It comprises seventeen professionals from the fields of theatre, circus and dance. The group is driven by an urge to make meaningful and multidisciplinary performing art.

The performances by Sivuhenkilöt aim to dismantle the rigid borders of different artistic disciplines, caressing both words and movement, the peripheral and the central, the mundane and the wondrous. Sivuhenkilöt examines the human standing next to the limelight: fragile, contradictory, touchingly incomplete. The group’s acclaimed live shows Sidekicks (2016) and There’s no room for my wings (2019), directed by Alma Lehmuskallio, have been presented at Cirko, the main programmes of Helsinki Festival and the Tampere Theatre Festival, as well as other festivals all around Finland. The group’s third work has been directed and dramatized by Guest Choreographer Jyrki Karttunen together with Eira Virekoski, who wrote the script for the previous two works.

Bone Chamber addresses human mortality and our disregard of it. Where does dying begin? We are at the last recycling point before the final stop. The liminal space between the real and the symbolic. The characters on this stage of finality guide their thoughts, one another, as well as their body parts through the frontier. While one wishes that death could be present in the everyday, another attempts to alter the course of time. A third character seeks a way to grieve their pet, and a fourth simply wishes to ski away already.

Bone Chamber combines various expressions of performing arts and considers the seemingly bleak topic of mortality in many ways. There is a constant transition in motion; not unlike sunrise and sunset. The performance finds its form in compositions, simultaneity, and interruptions: in the movements of bones, in unexpected words and emotions, in the traction and balance of life and death. It is like a free fall, confronted with the immanence of death, just when you should not, one is overcome by a fit of laughter.

The performance has English subtitles.

Sivuhenkilot.com