Stockholm: performance conventions

Conceptualising “Stockholm”

“Stockholm” by Bryony Lavery is a physical theatre piece with elements of dance and movement intricately woven into the narrative.
The use of highly stylised performances and non-naturalistic conventions is quite prominent.
Despite the narrative rooted in realism, the performance techniques often delve into the abstract and symbolic realms.

The stage for “Stockholm” typically features a minimalist set-up, relying heavily on movement, lighting, and sound to dictate mood and location shifts.
The characters often create spaces within their movement, transforming a minimalist stage into a dynamic space.
Symbolism is inherent in the spatial elements; Todd and Kali’s ‘perfect’ home is a metaphor for their relationship façade.

Physical theatre forms, particularly dance, are used to translate emotional intensity, escalating conflict, and underlying aggression.
The physical action sequences, like the body-miming and the violent dance sequence, are symbolic of the toxic dynamics of their relationship.
The choreography in the dance sequences demonstrates the power struggle and physical dominance characteristic of their relationship.
The physicality of the characters throughout the play, especially during aggressive sequences, defines their relationship dynamics.

Both characters, Kali and Todd, play multiple roles that reflect their complex personalities and shifting power dynamics.
The multi-character playing allows the cross-cutting narrative to be maintained.

Lighting and sound are significant performance conventions, contributing to the atmosphere, pacing, and transitions.
Shadows and spotlighting are used to emphasise tension and symbolism in the narrative.
Soundscape and music, particularly the ABBA soundtrack, play an integral part in setting the emotional tone and building character layers.