Representing a global community instead of a country.

A substantial chunk of JSKs repertory features abstract text, or what many refer to as lingua franca, volapük, kauderwelsch, grammelot, gobbeldygook, and a whole range of more locally found names differing from country to country. Theatre people often tend to use the term gibberish, but this term is often associated with nonsensical talk without necessarily having any link to a specific language. When discussing the concept on a more serious level, the terms pseudo-authentic language and linguistic alias indicate an intended similarity with existing languages. Which is what JSK deals with.

Audiences are often unaware of the linguistic effort the company puts into each production. Some assume the performers improvise with merely universal nonsense, others lack the experience to separate one language from another. Usually, the company spends a hilarious amount of time adapting the real sounds and melodies of an authentic language. This is not always necessary though, if the text credible enough to give associative perceptions of the action on stage.

After having produced about 20 shows following this principle, the company was on the course of becoming a solid international reference on abstract text. The demand and interest from festivals and theatres were increasing year by year, and it seemed the company had found a genuine and original trademark. Although abstract text is in use everywhere, JSK’s depth and commitment to the technique seemed unpaired. The company followed a strict manifesto to ensure constant development.

Then, in 2015, a little tragedy occurred. The Norwegian Arts Council called the company for a meeting, raising concerns about what they defined as “artistic stagnation”. They didn’t share the fascination for abstract text and notified that if the company decided to continue down that road, the funding would stop. Explanations of this being the company identity, trademark, and the main reason for international demand, were met by deaf ears. In order to stay alive, the company therefore ended its language profile and started to pursue other story-telling tools. No wonder, the international demand drastically decreased. The crack on Wall Street in 1929 is a relevant comparison. JSK has never forgiven the Arts Council for this.

However, the same Arts Council has since then gone through many changes, and today some of them would probably have allowed the company to continue its language research. It is unfortunately too late to change things back, but the company do maintain some of the abstract text shows in the current repertory. Stagnation or not, these shows are experiencing interest and demand even decades after their respective premieres. One could say that pseudo-authentic languages never go out of style.

The JSK Nonsensical Language Manifesto:

Each production should explore a new linguistic alias based on an existing language.

Each language should involve a new method in achieving linguistic credibility.

Amount of text should always be minimized. Excessive text blocking an associative process should be avoided.

Universal words should be used only with thematic relevance.

Body language specific to the chosen language should be incorporated, unless exceptions are deliberately chosen with thematic relevance.

Motivations and intentions should be just as comprehensible to the performers as in any traditional theatre play.

Cultural stereotypes, prejudice, and preconceptions linked to the chosen language should be considered in the creative process.

Cultural taboos and limits of decency should always be considered. Delicate matters should have thematic relevance.

Each production should perform in the region of language origin itself. Local verdict should be considered as a final exam.