Augusti 23 2018

Turteatern Stockholm


Was on tour fall 2019 

Inkonst, Malmö Orionteatern, Stockholm


For bookings contact:


INDEPENDENCE DAY is a furious and poetic performance that dissolves, destroys and liberates the theatre and the music, the chronology and the linear narratives, letting the world unfold by carefully cutting it apart without putting it together again.


October 9, 2002: Aileen Wuornos’s last words before her execution: I'd just like to say I'm sailing with the Rock, and I'll be back like Independence Day, with Jesus, June 6. Just like the movie, big mother ship and all. I'll be back.

June 6, 2018: A break from rehearsals at Turteatern in Stockholm. We go to the square outside. Swedish National Day celebrations. Lots of people and joyfull activities. A rabbit comes along and hugs Nina. We take a picture and go back into the theatre.


July 4, 1990: A warning goes out to all white middle-aged, business‐looking men traveling alone on the highways of Florida. Seven men have been found dead, naked and brutally murdered in the woods along Highway I-75. It’s a serial killer with a feminine twist. Aileen, a poor homeless hitchhiking hooker, is arrested for the murders. She is convicted to death. Six times.


A raped woman got executed. And was used for books and movies and shit.


Countless documentaries, books and movies have been made on "The True Story of Aileen Wuornos". The most famous one the Oscar-winning movie Monster. What is it that we want to know?


Put a big question mark on your film.


We start with Nina’s fascination for Aileen. Is it an identification? An idolization? A desire to personalize the lesbian avenging whore? Does it have to do with rage? A strong pressure against the skin. Sonic Pressure. Or is it really something more fragile, an honest attempt to get closer to Aileen?


We are searching for the truth. Not the answer to the question Did she kill those men in self defense or in cold blood? Not an attempt to be identifiable or trustworthy. It seems Aileen could never become trustworthy. Sonic Pressure. Maybe the truth is always something we cannot recognize?


I know you guys, you pre‐tape and you clip and stuff...


Then we begin to cut up. The movies, the interviews, our own questions and conversations. Physicists have concluded that, even in the smallest particles, reality is many things at the same time. In INDEPENDENCE DAY we are searching for the place beyond words. We are searching the silences and the boundaries to what we do not want to know. We are trying to open ourselves to the world instead of consuming the world.


Yeah thanks a lot! 2019 a rock is supposed to hit you anyhow. You’re all gonna get nuked!


Artistic concept, on stage: Nina Jeppsson, Kent Olofsson | Text, directing, scenography, acting: Nina Jeppsson | Music, sonic scenography, musician: Kent Olofsson | Set design: Cihangir Gültekin | Light & video design: Jörgen Dahlqvist | Costume design: Indra Linderoth


Length: 120 min

With support from the Swedish Arts Council.

Nina Jeppsson is an actor and stage artist. Educated at the Actors Program, Stockholm University of the Arts. She has worked as an actor at, for example, Gothenburg City Theater, Riksteatern and Ung Scen Öst. Founder of the Off Highway Performing Arts Association, the queer feminist performance collective TIR and the action theater Jordbro Stadsteater - a manifestation of the common and an action against privatization and gentrification. Has written / created several stage works, including Att öva på våldtäkt, WE ARE SHIT - Stop the demolition of Jordbro Kulturhus! and TIR vs. Men as a group - get down on your knees and kiss the ground. Several works have been shown internationally in Turkey, Portugal, Morocco, Denmark and Cuba.


Kent Olofsson is a composer with extensive artistic production, he has composed nearly 200 works spanning a wide range of genres, ensemble types and contexts: orchestra, chamber music, electro-acoustic, vocals, rock music and collaborations with artists in various fields. His music has been extensively performed, even internationally, and he has been awarded a number of prestigious composition awards. His work in recent years has been focused on experimental music dramatic works and he collaborates with the well-known theater group Teatr Weimar. Their performances have received a lot of attention internationally with such performances as Hamlet II: Exit Ghost, A Language at War and Arrival Cities: Hanoi, the latter for Vietnamese instruments, chamber ensembles, video and electronics.