{"id":33610,"date":"2026-01-09T14:53:11","date_gmt":"2026-01-09T11:53:11","guid":{"rendered":"https:\/\/svenskateatern.fi\/?p=33610"},"modified":"2026-01-09T16:11:07","modified_gmt":"2026-01-09T13:11:07","slug":"milja-sarkola-seeks-exactitude-in-subjectivity-most-lately-in-forget-me","status":"publish","type":"post","link":"https:\/\/svenskateatern.fi\/en\/milja-sarkola-seeks-exactitude-in-subjectivity-most-lately-in-forget-me\/","title":{"rendered":"Milja\u00a0Sarkola\u00a0Seeks Exactitude in Subjectivity \u2013\u00a0Most Lately\u00a0in Forget Me"},"content":{"rendered":"
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Milja\u00a0Sarkola\u2019s\u00a0writing straddles the worlds of a diary\u2019s intimacy and the theatre\u2019s collective format.\u00a0She aims for a conciseness whereby words do not exhaust emotions, but\u00a0open up\u00a0space\u00a0for\u00a0anxiety,\u00a0longing\u00a0and resistance.\u00a0In\u00a0Sarkola\u2019s\u00a0plays, the private is never purely confessional, but instead a\u00a0device\u00a0that tests the limits of what can fit on a stage.\u00a0Her latest\u00a0play,\u00a0Forget Me<\/em>, premiered on the AMOS stage on 3 December 2025.\u202f<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

\u2013 <\/em>I always feel most things\u00a0to be\u00a0excessive.\u00a0<\/p>\n\n\n\n

Conciseness of expression is something that playwright\u00a0Milja\u00a0Sarkola<\/strong>\u00a0has wrangled with her whole life,\u00a0from\u00a0her diaries\u00a0to her studies at\u00a0the Theatre Academy.\u00a0When she began to write prose, the greatest challenge\u00a0lay in\u00a0producing\u00a0larger quantities of text, longer grammatical\u00a0units;\u00a0flow.\u00a0In plays, the shifts are quicker.\u00a0Carefully crafted scenes progress in sharp, lightning-like flashes.<\/p>\n\n\n\n

\u2013 The form is right for me when I manage to capture the words without overwriting them:\u00a0when an emotion is evoked without my writing it out.<\/p>\n\n\n\n

Inspired by a yearning for plays of literary value<\/strong>\u202f\u00a0<\/h2>\n\n\n\n

In her reading,\u00a0Sarkola\u00a0is attracted to all kinds of texts, even aggressively expressive ones.\u00a0She is often confounded by deceptive simplicity \u2013 an artfully\u00a0sterile surface, under which powerful currents run.\u00a0During our meeting we discover a shared fascination for the\u00a0texts\u00a0of the\u00a0writer\u00a0Harry\u00a0Salmenniemi<\/strong>.\u00a0How can sentences be so simple yet so troubling and comical all at once?\u202f\u00a0<\/p>\n\n\n\n

\u2013 <\/em>It is the lyricist in him.\u00a0The same applies to the plays of\u00a0Tuomas Timonen<\/strong>, or someone like\u202fJon Fosse<\/strong>.\u00a0That\u00a0airy quality.<\/p>\n\n\n\n

Sarkola\u00a0reads a lot,\u00a0generally more\u00a0prose than plays.\u00a0And twentieth century rather than the ancient world.\u202f\u00a0<\/p>\n\n\n\n

\u2013 It\u2019s\u00a0a little embarrassing, but I must confess\u00a0I\u2019m\u00a0terribly modern.\u00a0My education begins somewhere in the nineteenth century with Flaubert,\u00a0Dostoyevsky\u00a0and Chekhov.\u00a0And Freud \u2013 what he did with literature.\u00a0I somehow\u00a0can\u2019t\u00a0escape him.

One of the things that inspired\u00a0Sarkola\u2019s\u00a0writing\u00a0was a\u00a0longing for\u00a0plays with a higher literary value.\u00a0Her first work,\u00a0Perheenj\u00e4sen<\/em>\u00a0(\u201cFamily Member\u201d), was staged at\u00a0Teatteri\u00a0Takomo\u00a0in 2011.\u00a0In it, a daughter can only meet her father onstage, because the public sphere has replaced the private in their theatrical family.\u00a0A mother, or girl, screams at her\u00a0child that she cannot cope\u00a0with\u00a0being stuck at home: she needs to work.\u00a0Perheenj\u00e4sen<\/em>\u00a0was pioneering in the Finnish dramatic landscape due to its\u00a0autofictional\u00a0form, which was\u00a0crafted\u00a0with a charged kind of exactitude.\u202f\u00a0\u00a0<\/p>\n\n\n\n

\"\"<\/a>
I Would Prefer Not To directed by Milja Sarkola at Svenska Teatern 2018. Photo: Cata Portin.<\/figcaption><\/figure>\n\n\n\n

\u201cThe experimental in the mainstream\u201d<\/strong>\u202f\u00a0<\/h2>\n\n\n\n

Before that,\u00a0Sarkola\u00a0had directed several pieces written by others, and worked\u00a0with\u00a0a dance\u00a0orientation\u00a0with choreographers from the\u00a0Zodiak\u00a0dance centre.\u00a0She found herself growing weary of conceptual forms.\u202f\u00a0\u00a0\u00a0<\/p>\n\n\n\n

\u2013 I didn\u2019t want the text to be improvised:\u00a0I wanted it to have a higher standing.<\/p>\n\n\n\n

Her idea of what\u00a0constitutes\u00a0theatre was moulded during her upbringing, via the offerings of Helsinki\u2019s Lilla\u00a0Teatern\u00a0in the 1980s.\u00a0With her father being a theatre manager,\u00a0Sarkola\u00a0became familiar with all the revues, tragedies,\u00a0farces\u00a0and classics performed there.\u00a0They all shared a certain tone: a combination of directness and respect for the audience.\u00a0Sarkola\u00a0learned that a theatre would sink without its\u00a0viewers \u2013\u00a0financially and otherwise.\u202f\u00a0\u00a0<\/p>\n\n\n\n

\u2013 At the Theatre Academy,\u00a0the relationship with the\u00a0audience became\u00a0much more remote.\u00a0But I\u00a0truly want\u00a0to connect; that is where\u00a0I feel that things\u00a0happen.<\/p>\n\n\n\n

She describes this ideal as \u201cthe experimental in the mainstream.\u201d\u00a0To reach outwards but, once there, to succeed in stretching meanings and creating something new.\u00a0Those are the moments that for her feel most effective in the auditorium.\u202f<\/p>\n\n\n\n

Sarkola\u00a0writes her plays with herself\u00a0in\u00a0mind as director.\u00a0Although the direction can evolve collectively, she guards her text closely.\u00a0To a great extent,\u00a0this is due to her plays springing from her own observations and autobiographical materials.\u00a0A timid inner experience requires a sensitive touch.\u202f\u00a0\u00a0<\/p>\n\n\n\n

\u2013 I seek an\u00a0exactitude in subjectivity that is hard to create collectively.\u00a0That is\u00a0probably why\u00a0I also write prose these days:\u00a0that\u00a0type of text can better earn the right to\u00a0contain\u00a0the self.\u00a0\u00a0\u00a0<\/p>\n\n\n\n

\"\"
F\u00f6rg\u00e4t mig<\/strong>\u00a0(Forget Me)\u00a0is a contemporary drama about Gunnel, a senior EU administrator on the verge of retirement. Gunnel is determined to fulfil her final wish in life: to be completely forgotten.\u00a0Photo: Liisa Takala\/F\u00f6rlaget<\/figcaption><\/figure>\n\n\n\n

Ever fascinated by psychology<\/strong>\u202f\u00a0<\/h2>\n\n\n\n

Is there anything that is too private to be performed on stage?\u202f\u00a0<\/p>\n\n\n\n

\u2013 I\u2019d\u00a0rather call it incomplete.\u00a0Art will just not come out of it; it will lack form.\u00a0If\u00a0I write something about myself, I\u00a0won\u2019t\u00a0think it\u00a0is unusable,\u00a0only that it\u00a0isn\u2019t\u00a0ready yet.<\/p>\n\n\n\n

Sarkola\u00a0has always been fascinated by psychology.\u00a0The question of why people are the way they are\u00a0has bothered her ever since childhood, and her\u00a0selfhood\u00a0has been characterised by deep unrest.\u00a0She recalls a trip to Mongolia:\u202f\u00a0<\/p>\n\n\n\n

\u2013 We are there on the mountain, far from civilisation and everything that is familiar to me.\u00a0Some sort of argument breaks out and I am\u00a0suddenly\u00a0floored by the insight\u00a0that I am never going to escape myself.\u00a0Here I am at the ends\u00a0of the\u00a0earth\u00a0and\u00a0I\u00a0am still the same person with the same problems.\u00a0It was just incredibly frustrating.<\/p>\n\n\n\n

The realisation of not being at all the way one would like to be led to the play\u00a0Jotain\u00a0toista<\/em>\u202f(\u201cSomething Else\u201d),\u00a0<\/em>performed at Q-teatteri\u00a0in 2015.\u00a0Wishes and behaviours\u00a0are\u00a0hardened, while desire and intimacy are\u00a0difficult\u00a0to accommodate together.\u00a0The fantasy of a stranger leaping out of the bushes is\u00a0easier\u00a0to relate to than one\u2019s own partner and her sexuality;\u00a0the latter comes with\u00a0a whole world\u00a0of responsibilities and annoyances.\u202f\u00a0<\/p>\n\n\n\n

\"A
Anna Hultin <\/strong>plays the main character Gunnel. Photo: Ilkka Saastamoinen.<\/figcaption><\/figure>\n\n\n\n

Is life as a couple not meant for everyone?<\/strong>\u202f\u00a0<\/h2>\n\n\n\n

I suggest that romantic relationships often force us to meet certain uglier truths about ourselves,\u00a0whereas\u00a0in the company of friends and acquaintances\u00a0it\u2019s\u00a0easier to\u00a0maintain\u00a0a more ideal\u00a0self-image.\u202f\u00a0\u00a0\u00a0<\/p>\n\n\n\n

\u2013 Absolutely.\u00a0That\u2019s\u00a0why I also enjoy friendship so much.\u00a0<\/p>\n\n\n\n

But if one chooses to live alone, is that done out of fear or because life as a couple is quite simply not meant for everyone?\u00a0This was a question that\u00a0Sarkola\u00a0hoped to\u00a0approach\u00a0in her most recent play,\u00a0Forget Me<\/em>, which premiered at\u00a0Svenska\u00a0Teatern\u00a0in December 2025.\u00a0It is based on a person, known in the play pseudonymously as \u201cGunnel\u201d,\u00a0who lives without any intimate relationships and expresses a specific desire to be forgotten when she dies.\u202f\u202f\u202f\u00a0<\/p>\n\n\n\n

The real-life\u00a0model for the character contacted\u00a0Sarkola\u00a0and suggested the topic\u00a0for a\u00a0play.\u00a0They did not offer to collaborate in the project, but the process gradually developed in that direction.\u00a0The documentary form was added\u00a0later on.\u00a0Sarkola\u00a0emailed questions and \u201cGunnel\u201d responded in writing, and the conversation is presented as a part of the performance.\u00a0Even though quotations from the interviews are sometimes reproduced word for word, the dramaturgy and composition have the playwright\u2019s\u00a0characteristic stamp.\u00a0On stage, the conversations are personified and anonymised by actor\u00a0Anna Hultin<\/strong>.\u202f\u00a0<\/p>\n\n\n\n

The existence of the play makes\u00a0evident\u00a0\u2013 if unwittingly \u2013 the duality that can be found in a person like \u201cGunnel\u201d.\u00a0On the one hand there is the express desire to be forgotten; on the other, a shadow of the self that resists\u00a0this impulse breaks\u00a0through.\u00a0Not everyone who is forgotten gets to have their life\u00a0represented\u00a0on a theatrical stage.\u202f\u00a0\u00a0<\/p>\n\n\n\n

Excitement also grew within\u00a0play\u2019s subject\u00a0during the process: they began to look forward to\u00a0Sarkola\u2019s\u00a0questions\u00a0in order\u00a0to\u00a0be forced to think about their life \u2013\u00a0perhaps for\u00a0the first time\u00a0ever.\u202f\u00a0<\/p>\n\n\n\n

\u2013 I took on the role of antagonist in the conversation.\u00a0It happened quite naturally.\u00a0After all, on the surface,\u00a0\u2018Gunnel\u2019\u00a0has seemed to make completely the opposite choices from those in my own life:\u00a0no children, no partner, no therapy, no close relationship with their childhood family.<\/p>\n\n\n\n

\"\"
Photo: Ilkka Saastamoinen<\/figcaption><\/figure>\n\n\n\n

Despite the antagonistic role of the playwright in the interviews,\u00a0Sarkola\u00a0is\u00a0not quite sure\u00a0of her own standing on the topic.\u202f\u00a0\u00a0\u00a0<\/p>\n\n\n\n

\u2013 I still don\u2019t entirely know how to present my alter ego on the stage,\u201d she said at the time of this\u00a0article.\u00a0\u201cIt can easily go in the wrong direction.\u00a0What feels important is to draw attention to the documentary work process, not to the author as a character.<\/p>\n\n\n\n

The documentary format may be new for\u00a0Sarkola, but dialogue has always stood at the heart of her plays and novels.\u00a0In her second novel,\u00a0Psykiatrini<\/em>\u00a0(\u201cMy Psychiatrist\u201d,\u00a02024), conversations had during therapy make up the terrain on which gender relations are played out.\u00a0The fantasy of a bourgeois heterosexual home life is personified by the older male psychiatrist.\u00a0The reader is\u00a0invited to eavesdrop on the doctor\u2019s imaginary relationship with his wife and friends, where what is said\u00a0presumably reveals\u00a0more about the patient than about the object of\u00a0the\u00a0fantasy.\u202f\u00a0<\/p>\n\n\n\n

Gender issues also come up\u00a0as\u00a0Sarkola\u00a0and I argue about the Swedish playwright and theatre director Lars Nor\u00e9n.\u00a0We are both enthusiastic about his writing, with its luminous dialogue and precision. Outside of the text itself,\u00a0however,\u00a0the situation is\u00a0more\u00a0ambiguous.\u00a0For me, a genius male director is an\u00a0abstract character\u00a0who does not plague me personally\u00a0\u2013 at least not consciously.\u00a0Sarkola, in contrast, appears to have enormous stores of rage from which to draw at the merest mention of the cult of a male artist.\u202f\u00a0\u00a0<\/p>\n\n\n\n

I cannot access a similar resource, but it is\u00a0probably due\u00a0to having closer ties to literature than theatre.\u00a0The individual\u2019s singularity is\u00a0different\u00a0therein.\u202f\u00a0<\/p>\n\n\n\n

\u2013 That is\u00a0probably the\u00a0case.\u00a0My anger is a direct result of what I have seen and heard in the field.\u00a0It is simple to prove that a woman\u2019s pen can be just as sharp as a\u00a0man\u2019s, but in the collective art form that is theatre, people\u00a0seem to be\u00a0drawn to messianic figures.\u00a0It happens\u00a0again and again.\u00a0And\u00a0\u2018strangely\u2019\u00a0enough, most theatre managers are male, as are the directors who work for the major stages.<\/p>\n\n\n\n

Leadership\u00a0depends on\u00a0what one wants to achieve in the space<\/strong>\u202f\u00a0<\/h2>\n\n\n\n

Ultimately,\u00a0Sarkola\u00a0claims, it is a question of what kind of leadership we look for.\u00a0She stresses the fact that it is not only down to gender, even though issues related to the traditional conceptions of \u201cmasculine\u201d versus \u201cfeminine\u201d can be discerned in the problem.\u00a0In that respect she can see a great upheaval happening amid the younger generations.\u00a0Sarkola\u00a0herself was brought up to a directorial role whose main\u00a0objective\u00a0was to\u00a0maintain\u00a0authority: to know and not to ask questions.\u202f\u00a0\u00a0\u00a0<\/p>\n\n\n\n

\u2013 At the end of the day, leadership is a question of what one wants to achieve in the space.\u00a0What do we expect from a performance?\u00a0Are we looking for a uniform\u00a0ecstatic\u00a0feeling\u00a0or do we want to achieve something softer, more ambiguous?\u00a0<\/p>\n\n\n\n

Surely there is always something a little creepy about\u00a0collectiveness?\u00a0A whole auditorium in hysterics can\u00a0contain\u00a0the seeds of a lynch mob.\u00a0It has a similar quality of volatility.\u202f\u00a0<\/p>\n\n\n\n

\u2013 Yes.\u00a0I will\u00a0probably continue\u00a0to\u00a0maintain\u00a0an\u00a0unresolved\u00a0conflict with the collective form\u00a0that is\u00a0theatre\u00a0and its links\u00a0to mass psychosis\u00a0phenomena.\u00a0<\/p>\n\n\n\n

—<\/p>\n\n\n\n

Milja\u00a0Sarkola\u00a0was interviewed by\u202f<\/em>Rakel Simil\u00e4.<\/em><\/strong>\u202fThe interview was conducted thanks to funding from the\u00a0Gesellius\u00a0Foundation.<\/em>\u202f\u00a0

This article was first published in Swedish on 21 August 2025 at\u202f<\/em>Tinfo.fi.<\/em><\/a>\u202f\u00a0
Svenska\u00a0Teatern\u00a0has translated and\u00a0reproduced\u00a0it with permission.<\/em>\u202f<\/p>\n\n\n\n

Rakel Simil\u00e4<\/strong>\u202fis a critic and culture journalist with a focus on literature and performing arts.\u00a0She studied literature at Lund University and philosophy at the University of Helsinki.\u202f\u00a0<\/em><\/p>\n\n\n\n


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Milja Sarkola<\/h2>\n <\/div>\n <\/div>\n
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Milja\u00a0Sarkola<\/strong>\u202fis a bilingual (Finnish\/Swedish) theatre director, playwright and author who\u00a0resides\u00a0in\u00a0Helsinki, Finland.\u00a0She is known for plays including\u00a0I Would Prefer Not To<\/em>,\u202fHarriet<\/em>,\u202fEn\u00a0familj\u00a0<\/em>(\u201cA Family\u201d),\u00a0All That Is Said\u00a0<\/em>and\u202fJotain\u00a0toista\u00a0<\/em>(\u201cSomething Else\u201d).\u00a0Some of\u00a0her repeated\u00a0motifs include individuals\u2019 inner conflicts, the power dynamics of family relations, alienation, the boundaries between private and public, and the links between class and art.\u00a0Her second novel\u00a0Psykiatrini\u202f<\/em>(Teos, 2024)\u202f(\u201cMy Psychiatrist\u201d) was nominated for the\u00a0Runeberg\u00a0Prize and the Nordic Council Literature Prize.\u00a0Her first novel was\u00a0P\u00e4\u00e4omani\u00a0(Teos, 2020)\u00a0(\u201cMy Capital\u201d).\u00a0Sarkola\u2019s\u00a0latest play,\u00a0F\u00f6rg\u00e4t\u00a0mig<\/em>\u202f(Forget Me<\/em>), premiered at Helsinki\u2019s Svenska\u00a0Teatern\u00a0on 3 December 2025.\u202f\u00a0\u202f<\/p>\n\n\n <\/main>\n <\/div>\n <\/div>\n <\/div>\n<\/section>","protected":false},"excerpt":{"rendered":"

Milja\u00a0Sarkola\u2019s\u00a0writing straddles the worlds of a diary\u2019s intimacy and the theatre\u2019s collective format.\u00a0In\u00a0Sarkola\u2019s\u00a0plays, the private is never purely confessional, but instead a\u00a0device\u00a0that tests the limits of what can fit on a stage.<\/p>\n","protected":false},"author":18,"featured_media":30792,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"24535,23753,26566,30756,30329,33023","_relevanssi_noindex_reason":"","footnotes":""},"categories":[10],"tags":[],"class_list":["post-33610","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"acf":[],"yoast_head":"\nMilja\u00a0Sarkola\u00a0Seeks Exactitude in Subjectivity \u2013\u00a0Most Lately\u00a0in Forget Me - 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