The Daily Valdemar No. 34: April 15
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| Valdemar Andersen, for the satirical Klods-Hans, November 1, 1908. |
Today's moment of calm is the comfort of experiencing through the twofold mirror of play and cartoon.
Inez of Coimbra by the author Karl Larsen was a play about romance and jealousy, which led to the demise of its young lovers leaving behind an array of forlorn characters such as the jealous garcon before us. The true protagonist was the heat of temper and temperature built around a bouquet of Portuguese folksongs performed in it.
The singing garcon was played by Poul Reumert and he is portrayed here as the utter performer with kohl-rimmed eyes looking up and beyond for us to behold him. This is one of the first performances of his career and this was how he would be presenting himself for the next 50 years.
Valdemar Andersen lets the storytelling take place in his body tearing him into two. He is stepping forward to act on his rage and jealousy with bared knuckles on his clenched hand. He is unsure too on what to think, not understanding what is taking place and letting apathy keep him back with his right hand hanging to his side.
It is a play we have never seen yet Valdemar has made it come alive to us. It is less about the actor before us. He is the vehicle with which Valdemar unfolds the complexity and simplicity of human reaction.
Inez of Coimbra by the author Karl Larsen was a play about romance and jealousy, which led to the demise of its young lovers leaving behind an array of forlorn characters such as the jealous garcon before us. The true protagonist was the heat of temper and temperature built around a bouquet of Portuguese folksongs performed in it.
The singing garcon was played by Poul Reumert and he is portrayed here as the utter performer with kohl-rimmed eyes looking up and beyond for us to behold him. This is one of the first performances of his career and this was how he would be presenting himself for the next 50 years.
Valdemar Andersen lets the storytelling take place in his body tearing him into two. He is stepping forward to act on his rage and jealousy with bared knuckles on his clenched hand. He is unsure too on what to think, not understanding what is taking place and letting apathy keep him back with his right hand hanging to his side.
It is a play we have never seen yet Valdemar has made it come alive to us. It is less about the actor before us. He is the vehicle with which Valdemar unfolds the complexity and simplicity of human reaction.
