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SCRIPTED AND EMBODIED RITUALITY IN A YOIK-NOH PERFORMANCE To be true to Valkeapaa’s intentions and his use of the dramaturgy of Noh theater, we have chosen to present the play in the stylized, stringent form that also characterizes Noh theater. But we have sought to create our own form of expression rather than imitating the style and movements of Noh, using Valkeapää’s own music together with the movements, to comment on and connect the text sequences.” Without expanding on how the Beaivvas performance” turned this sparse poetic text into another kind of fascinating meditative event, I will investigate the role of two theatrical devices that made this stage performance different from the previous excellent performance of Ailu (Valkeapaa’s SAmi name). Naturally, these devices strongly contribute to a very different interpretation of the play. The performance opens with the members of the chorus slowly entering the stage in complete silence in their stylized costumes, one after another. Moving from the back of the stage to the front, they perform in sequence a gesture that seems to be opening space and time for the “moment” of the performance. While the hand gesture of the first figure opens the horizontal axis for the three-dimensional performance to come, the clapping of the second figure symbolizes the “now,” and the hand movements of the third figure bring forth the vertical dimension. These three gestures are performed again in the middle of the performance by the spiritual figure Ridn’oaivi, and at the end by the earthly figure, the reindeer herdsman. This tripartite gesture enforces the interconnection of these levels; and in doing so enables liminality to arise between three poles. The chorus consists of two older characters (paternal and maternal figures) and a third, younger, daughter-like figure standing between them. This female figure will move closer to the reindeer herdsman several times, especially at the end of the play, leaving the viewer to interpret this act as the manifestation of the love Ridn’oaivi expresses in the middle of the play. Aside from the very elaborate setting and costumes bearing the Noh style, two canes become the most symbolic objects of the performance. Carried by the two principal figures, they play a crucial role in the intermingling of the spiritual and human worlds. Though the canes are not mentioned at all in the original poetic text, nor in the author’s stage directions, the main characters always carry them. The straight, life-size cane of the reindeer herdsman contrasts with Ridnoaivi’s longer and more elaborate shamanic cane, which is topped with a reindeer antler. At the end of the second act, while guiding the herdsman back to sleep, Ridn’oaivi leaves his shamanic cane at the young b Sami National Theater Beaivvas (SNTB): Ridn’oaivi ja nieguid oaidni [The Frost-haired and the Dream-seer], Sami/English Playbill, 2013, 5. Director: Haukur J. Gunnarsson; Choreography: Indra Lorentzen; Scenography: Aage Gaup; Costumes: Berit Marit Heetta; Musical director: Roger Ludvigsen; Actors: Egil Keskitalo (Ridn’oaivi), Nils Henrik Buljo (Herdsman); Chorus: Inga-Märet Gaup-Juuso, Ingor Äntte Ailu Gaup, Mary Sarre; Musicians: Roger Ludvigsen (guitar), Esa Kotilainen (keyboard), Patrick Shaw Iversen (flutes), Espen Hogmo (percussion). 20 + 83 +
