Women and Women in Men in the Comedy’s Runar and Kyllik: Reversing Roles Reveals Important Point About Kyllikki’s Murder – Culture

The play Runar and Kyllikki, written by Jussi Kylätaskku, was premiered in Kotka in 1974. Almost fifty years after its premiere, Lauri Maijala managed to direct the current arrangement to the Kom Theater.

Runar and Kyllikki at the Kom Theater on April 8, 2022. Direction and adaptation of Jussi Kylätaskku’s play Lauri Maijala.

Not again. It was the first idea when the Kom Theater was informed in 2020 that it had returned to the house Lauri Maijala directs the stage Runarin and Kyllikin. The premiere was supposed to be in November 2020.

Well, the pandemic continued, so Maijala’s control and reconciliation Jussi Kylätaskku the play, which has become a contemporary classic, only got its premiere now, in April 2022.

Runar and Kyllikkiwhich premiered Jouko Turkka accompanied by a stir, directed in Kotka in 1974, based loosely Kyllikki Island murder case. The play also contains details of a double murder in Tulilahti in 1959, in which he died Eine Nyyssönen and Riitta Pakkanen.

Then: Not again.

That first reaction is explained by the anguish caused by the continued handling of the fate of the Island murdered in 1953, both in books and in the media. Wouldn’t the island healing already rest in peace! The same continuous monitoring also applies to Tulilahti and many more recent murders.

The unifying factor in the murders of interest to the general public is that the victim is usually a young woman described as innocent. Idealiuhricwrote a criminologist Maria Normann In Helsingin Sanomat when criticizing with merit Teemu Keskisarja Kyllikki Island book in July 2021.

Normann drew attention not only to how dealing with the unsolved murder of a young woman is a million-dollar product, but also to the fact that the perspective of women and children still does not emerge at all in describing the post-murder of Saari.

He also highlighted how everyone who writes and reads on these topics should think about why and from what perspective they produce or consume these stories themselves.

In the light of the above, I think the suspicion or even outright suspicion of Maijala’s project was well-founded.

Can 48 years ago Runarin and Kyllikinwhich has been described, among other things, as hitting the pain points of Finnishness and as a monument of Finnish values, to do fresh in 2022 – and so that the repression of Saari’s murder will not continue?

Yes you can. Lauri Maijala manages to direct Komi’s strong and intact Runarin and Kyllikinwhich both distracts and makes you think. The arrangement clears the message of the play and also does justice to the Village Pocket dialogue, which continues to prove its worth.

The whole rests on the shoulders of skilled actors, without them the director would not have had a chance.

It is very easy to imagine how different interpretations of roles would have made the performance an extension of the traditional role catalog where man is man and woman is woman. In that catalog, we have all been flooded.

The most memorable performances stand out Ella Mettänen Runar, One Silvan Laiho aka Kyllik ‘s father and Niko Saarelan played by Runar’s mother.

Yes, the most important of Maijala’s settlement solutions is yet to be mentioned.

It’s about turning the role on its head. Each of the nine named male roles in the play is played by a female supposed. And every named female role, of which there are five, plays a male assumption.

 

 

Juho Milonoff’s Eija is working in the Kiiske (Lotta Lindroos) store.

The solution is no constellation, no pursuit of specialty, no comedy. One would almost not believe how great a force it is to dislodge one’s habit until one sees it for oneself.

The characteristics of the sexes that are considered to be ‘natural’ are only revealed and questioned when Juho Milonoffin acted by Eija, the reddest lip mentions her maiden chamber.

Pastor Kapeelahti’s sexual fervor and sinful whipping show their ridiculousness and outright madness as they roar Kati Outinen.

 

Kati Outinen is Pastor Kapeelahti, weak in flesh.

 

Kati Outinen is Pastor Kapeelahti, weak in flesh.

On the other hand, deeply human and still looking like a “traditional Finn” is Satu Silvo’s father-Laiho’s drunky raging grief or Niko Saarela’s Runar’s mother’s screaming grief.

Ella Mettänen sings painfully and makes Runar nuanced: the fatherless evacue boy is sensitive and foolish, even forever excluded.

In the woods and Paavo Kinnusella is disproportionate in that Kinnunen Kyllikki, the victim, is already a smaller character in the script compared to Runar. And although Kinnunen succeeds in her role work, highlighting, for example, the feminine uncertain facial expressions, I would still question the sharply rising intonation used at times, the “girly” final hiss.

Director Maijala could have thought even more carefully about the message and impression it gave.

What is the audience laughing at when laughing at Kyllik and his speech? I hope not even subconsciously for girls.

 

Jussi Kylätaskku's dialogue continues to be Lauri Maijala's arrangement.

 

Jussi Kylätaskku’s dialogue continues to be Lauri Maijala’s arrangement.

Role play gender swing also brings out humanity, makes you feel affectionate even for the merchant Kiiske who grinds his silly stupid stuff (Lotta Lindroos) and Ruokos. People, too, in the oppression of the old and the new world.

Even Kiiski’s shop already offers delicious modern preserves, the cross becomes neon light, while everything is still based on old acquaintances: superstition, guilt, Lutheranism, war.

The obligation to join the fishing community is reminiscent of social classes and civil war, which can also be seen to emerge Markku Pätilän staging background fabric.

The staging is, above all, the background, it won’t draw attention to itself if not the temptations of Kiisken’s counter count. By the way, Eija and Pusu-Peltonen (Karoliina Niskanen) a particularly hectic moment Tomi Suovankoski otherwise well – functioning lights and Jani Rapon sound design crown.

At one and a half a premiere postponed by a year could be imagined as frost on topicality. The opposite has happened. Russia’s war of aggression in Ukraine has made the presentation only more topical in a terribly tangible way.

Putin’s goal in Russia has long been to suppress gender equality efforts, wrote docent in sociology Sari Näre recently in the HS. The demand for masculinity is also overemphasized, a man has to beat women and fight with other men.

This is exactly the kind of society and hierarchy In Runar and Kyllik See you. Underneath it are especially those who have not yet hardened themselves or managed to rise from the position of the worst under respondent to a higher one in the hierarchy.

It is a society that does evil to both men and women. A society where violence only breeds more violence.

In a few points I was still left to think about the solutions that were made, for example, from the point of view of respect and the constant sacrifice of women. But while I’m still not quite sure about the “memorial plaques” marked with initials and years of life, for example, I ended up here:

Reconciliation between Maijala and the working group About Runar and Kyllik manages to raise important issues. It asks what kind of Finnish society it was in the 1950s, where brutal murders became part of a national project.

It also asks what that society is like now.

Is it one that neither assumes nor hurts?

Stage Markku Pätilä, lights Tomi Suovankoski, costumes Sari Suominen, sounds and music Jani Rapo, disguise Leila Mäkynen, combat choreography Markus Järvenpää, dialect consulting Jouni Hynynen. In the roles Ella Mettänen, Paavo Kinnunen, Juho Kuusamo (Teak), Lotta Lindroos, Juho Milonoff, Karoliina Niskanen, Kati Outinen, Niko Saarela, Satu Silvo, Eeva Soivio.

 

Kyllikki and Eija are dancing, in the background Härkä-Heikki (Eeva Soivio) loves Runari's mother Hilkka (Niko Saarela).

 

Kyllikki and Eija are dancing, in the background Härkä-Heikki (Eeva Soivio) loves Runari’s mother Hilkka (Niko Saarela).

By Editor

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