Studying at the Oslo National Academy of the Arts: The Academy of Theatre

Name: Signe Gerda Landfald
Age: 36
Programme: Master’s in theatre, specialisation in scenography, the Academy of Theatre

Why did you choose the Oslo National Academy of the Arts?Two years ago, when I heard they were going to launch a Master’s programme in scenography at the Academy of Theatre, I thought to myself, “Wow, this is something I just have to do!” It was an entirely new programme, but scenography has actually been tried out here before, as a joint Bachelor’s programme between the Academy and the Norwegian Film School in Lillehammer, which I was attending at the time. The first year, we commuted between the Academy, the National Academy of Crafts and Art Industry at Ullevålsveien in Oslo, and the Norwegian Film School in Lillehammer, and the final two years I studied at the film school. Afterwards I worked seven years as a set designer for film and TV. But it’s the theatre and theatre design that’s my passion, and when this Master’s programme was set up, I just had to apply, like I said. And it feels wonderful to study again!

What were your expectations when you started?
I wanted to work actively – creatively – along with other stage artists at the school. I looked forward to getting to know the other people here at the Academy and looked forward to really diving down into the discipline of scenography, and try out, explore and experiment with the art of making theatre.

What is the best thing about the Academy?
The diversity! All the artistic disciplines gathered under many roofs – or rather, under a single roof. It makes it easy to connect with people and cooperate with them across the various disciplines. As part of my Master’s degree I did the set design for Cinderella, which the opera students were putting on as their final Bachelor’s production. I collaborated there with Matilda Söderling, who took costume design as the graduation project for her Master’s in design. And precisely this kind of diversity and collaboration has been important. For instance, I did much of my Master’s degree along with Martin Lotherington, who is taking a Master’s in theatre directing. This past autumn we staged a production we called The Ferdinand Moment as the first part of our Master’s project. It was an improvised production where we studied what it meant to create in the moment. The process we went through was incredibly educational, and we brought several of the “findings” from our work on The Ferdinand Moment along with us in our next project. I’m also working with Martin as the director on the final part of my Master’s in scenography at the Teater Ibsen in Skien [140 km SW of Oslo], where we’re staging August Strindberg’s The Dance of Death, set to premiere in November 2017.

Who at the Academy has played the most crucial role for you in your studies?
Carle Lange. He’s an associate professor of scenography at the Design department, and he has been an enthusiastic and inspiring supervisor. He really sees the student, and I think he’s been a vital figure for many others as well. I’d also like to mention Mette L’orange, who’s actually employed at the Bergen Academy of Art and Design, but she’s also employed here part-time as an adjunct professor of colour. Along with Carle she organised a workshop on light and colour that was amazing and that proved to be important for me. Otherwise, it’s been the collaboration with my fellow students, above all with Martin, that has played the greatest role.

How would you describe life at the Academy to someone who’s thinking of applying?
Sometimes I can be doing my thing for weeks over at the Academy of Theatre, either alone on a stage or along with a small group of students, and not have a clue about whether it’s sunny or raining outside. Other times I might just wander about and search for inspiration – for instance, I might go over to the ceramics or carpentry workshop and see how they do things over there, how they work on the details and fine carpentry, and just look at the lines in the woodwork or the nuances of the glaze … That’s fun! It doesn’t take much to go from being isolated to being open and taking in what everyone else is doing. So that is what I would say to new students: put your work aside for a moment and take the time to get to know the wonderful school you’re attending. I could have gone here for twice as long, I think, there’s still so much I haven’t explored yet.

What are your dreams for the future?
My dream is of course to be able to work within my field, to have the opportunity to be a professional set designer for the rest of my life. Stagecraft is above all a matter of collaborative creativity, so cooperation and being on the move with others are key.

What do you always have with you?Hmm. Yeah, what do I always have with me …? Well, I rarely take the train from Ås to Oslo without my satchel. That’s where I keep things like my sketchbook and my drawing pencil – each project has its own book. I usually also have a tape measure with me. But I just remembered what I actually do always have with me: my eyes and my gaze. I observe and take stuff in. Or should I rather talk about something a bit more peculiar? No, you know what – just write that.