4.48 deserves to be seen as the astonishing piece of theatre it is – as playful as it is confessional, simultaneously precise and improvisatory, roaring with life and wit and energy as it gazes unblinkingly at depression and death. Even as it invites us inside, it hangs on to its mysteries.
Andrew Dickson, The Guardian 11.4.2016
A genre defying script which reads like stark and precise poetry, but reveals a precise orchestration of dramatic voices when played.
4:48 Psychosis was my first staging of a play after 14 years of staging contemporary music theatre and some radio drama.
Play by Sarah Kane, 1999
Danish translation - Morti Vizki
staging & design - Jacob F. Schokking
music - Gert Sørensen
video graphics 2002 - Arthur Steijn
video graphics 2010 - Jakob Thorbek
video editing - Jens Tang
lighting design - Peter Plesner
actor - Trine Dyrholm
video actor - Kristian Halken
Edison, Cph. 2002
Holland House production 2010 at Royal Theatre, Cph, - InterCity festival, Florence - ILT Festival, Aarhus - Nordwind Festival, Volksbühne, Berlin.
photos by Thomas Petri of the 2010 production
The press wrote:
This staging does neither give into a morbid fascination with suicide nor rely on sentimentality. The performance is both distanced and emphatic; its formal principle is clarity, in which the human voice is perceived as elementary human, but at the same time is investigated and exposed as a voice and just a voice. The psychological is replaced by something sensory. A terrifying sensibility!
Between night and day, life and death. Jacob Schokking’s outstanding visual staging adds an extra dimension to the words, feelings and thoughts in Sarah Kane’s 4:48 Psychosis. Trine Dyrholm’s emotional register fluctuates in concurrence with Jacob Schokkings visuals. It is a beautiful joint delivery of a challenging piece.
Trine Dyrholm in her as yet most eminent performance. The quality of her acting has thus far not reached such heights.
Director Jacob F. Schokking has created an eminent visual design, which at times feels so crushing that it leads one to believe that some low sighs sounding from the auditorium are real. They emerge like drops of acid trickling onto an open wound.
The directing is very strong, and shows the excellence Trine Dyrholm has developed as an actor: so normal and charming she could play a Célimène in The Misanthrope - so ravaged, she could die of it.