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Concept, choreography, scenography, light: Jon R. Skulberg                               

Creative producer, agent: Lene Bang    

Dancers: Marianna Kavallieratos, Kenzo Kusuda  

Composers, musicians: Soma & Lil  

Composer, sound design: Kristian Hverring                                                                                 

Dramaturg: Astrid Hansen Holm                                                                   

Costumes: Mads Dinesen        

Light technician : Irene Lehtonen

Sound assistant : Johan August Dyrløv Høegh 

Communication: Kirstine Bauning

Premiere: Bora-Bora, Aarhus, September 4th, 2019

– The ability of man is the enigma of man, this for good and evil!

For Ever Four Seasons" is a musical, choreographic and existentialist work which insists on slowness, as an act of resistance against our rapidly accelerating world.
At one and the same time, Jon R. Skulberg and Convoi Exceptionnel want to give the audience a sensuous experience, which both pleases and disturbs while posing the fundamental question: What is the role of mankind in the Anthropocene era?

The first dancer, Kenzo Kusuda, has freed himself of the patterns of human motion to create the basic form of "nature". The second dancer, Marianna Kavallieratos, is a figure wandering in a probable and violent vision of the future - in an impossible attempt to build a relationship with the outside world and a "nature" which no longer bears any resemblance to itself.

The two dancer's conditions and emotional states are anchored to the newly composed works by the cello duo Soma & Lil and composer and sound artist Kristian Hverring. Jon R. Skulberg's staging, scenography and light invite the audience to a series of images of presence in slow but constant change.

Human beings have developed, and survived as a species due to the ability to cooperate and develop mental structures and systems. For instance, technology, philosophy, and art. At the same time they have created: concentration camps, weapons, and nuclear power.

In recent years, both art and philosophy have reflected on the fact that the man has become a similar geological force to volcanoes, rivers, and displacement of tectonic plates. For the first time in history, a majority of us lives in urban man-made landscapes rather than rural areas. Mankind has detached itself from nature. Is it because we no longer regard ourselves as part of it? The work For Ever Four Seasons investigates what value the term “nature” has today. Perhaps the idea of separation between the man and nature should be reconsidered?

The development of this work is influenced by a Nobel Prize winning writer Svetlana Aleksijevitj’s reflections and interviews with survivors of Chernobyl. Aleksijevitj uses the Chernobyl disaster as a potential picture of the future, and let the witnesses remember in a world that will forget. Her analysis is a hyper-concrete example that poses ethical, moral and metaphysical questions to the modern human. With nuclear technology, we have also gained an instrument so that we can act on the same scale as nature. A man-made natural power.

What is the role of humanity in the geological period we are in now, the Anthropocene age? Convoi Exceptionnel gives space and form for an artistic explanation to the questions above.

We – an unknown opera by Bach?

We – an unknown opera by Bach?

"Devastatingly beautiful"


"An absolutely fantastic performance ... this is nothing like anything else"

Swedish Radio, P4.

"A genuine, professional teamwork with high artistic ambitions."

"Norrlandsoperan really dared to experiment!"


"Bach's wonderful music gets a mysterious framing"


Commissioned from: Norrlandsoperan

Music: Johann Sebastian Bach

Concept/choreography/direction: Jon R Skulberg

Conductor/musical arrangements: Olof Boman

Composition new music: Siri Jennefelt and Thomas Jennefelt

Set design: Maja Ziska

Lighting design: Kerstin Weimers                                                                

Costume design: Bente Rolandsdotter

Dramaturgy: Birgit Berndt

Scenography assistant: Olga Regitze Dyrløv Høegh

Vocals & dancers: Melis Jaatinen, Yared Tilahun Cederlund, Klara Ek, Kenzo Kusuda, Arash Azarbad, Linda Blomqvist, Joanna Holewa Chrona, Risa Kojima

Norrlandsoperan  choir                                                               

Norrlandsoperan Symphony orchestra

‘We - an unknown opera of Bach?’ is about the human dimension of a collective and how to reject the hierarchy between individual and collective - a choir and a soloist. How the individual is only legitimized by the collective. The project is a universal investigation and a democratic interpretation of ‘the sacred’ in Bach's music.

In ´We - an unknown opera of Bach?´ we will search for a movement language where different bodies can co-exist and be cohesive. Not by performing, or repeating gestures in unison, but by creating  collective awareness around the potential of each body – in their abilities and limitations. The choir, dancers, and soloists, will create a holistic image in motion in unison with the music and light – an image that will oscillate between the known and the unknown. The everyday and the transcendent.



Concept and staging: Jon R. Skulberg & Signe Klejs

Videoart: Signe Klejs

Scenography and light: Jon R. Skulberg

Text: Anne Helene Guddal

Costume design: Mads Dinesen 

Composer: Andreas Busk

Dramaturg: Astrid Hansen Holm 

Co-lightdesign: Kerstin Weimers 

Performers: Lisbeth Sonne Andersen, Anne Mette Gravgaard, Malene Andreasen, Finn Adrian Jorkjen,
Irmelin Rønsholdt/Alma Stent 

Creative producer, agent: Lene Bang

Producer: Louise Kirkegaard/1:1 Produktion

Technical production: Lumen

Co-production: Bora-Bora

Premiere: Bora-Bora, January 2017

- a performance about formation and reformation.

The 4th morning is a merge of video art and a performance piece. A possible image of us – the late modern man.

Creation stories explain how the known world began and how man entered into it. These stories are challenged at the intersection of religion and science. Is it  possible to refer to them in our time, where secular thoughts and rational sciences dominate? Can a society exist without? Regardless
 of how the creation of man happened, we are, irrefutably, its consequence. Our awakening in the morning and rising from a bed is an extension of that very same gesture which started billions of years ago.

In the piece we meet, playing themselves: a priest Anne Mette Gravgaard, who once lost her left arm and right leg to a traffic accident, transgendered Malene Andreasen, and a young artist Finn Adrian Jorkjen. We also encounter a performer  Lisbeth Sonne Andersen who embodies the enigmatic. The narrator is a child.

Technology, surgery, and globalization phenomena have created  endless possibilities for human formation and reformation. What importance does this premise have to our live?

In a visual and choreographic composition, a variation of embodied experiences, physical memories, and mythical blends within a sensing space of constant change. The 4th morning is a performance by Signe Klejs and Jon R. Skulberg.