ABSTRACT
The new landscape in the production of new work or in the revisioning of classic work can facilitate an artistically productive negotiation with the power of place. Indeed, the very nature of who we are must surely be judged by the changing ethnic landscapes. In theory, Norway should be immune to some of the more inflammatory rhetoric aimed at migrants elsewhere in the European landscape, where high unemployment leaves locals looking for easy scapegoats. Theatrical realism in Norway is a conservative convention where the audience agrees to a set of conventions that precede the performance so that what is done may be accepted as a formal or definite process. The casting of an ethnic performer, where race or ethnicity is not germane to the character's or play's development, has never been done in a Norwegian theater production. The psychology of the Norwegian people is linked with their political and cultural life.
