Two Violins – Two Girls

The opening scene of Unnur Aspar Stefánsdóttir’s performance of her own play of Halldór Laxness’ Salka Valka at the Landnámssetur in Borgarnes was both original and moving. She played Halldór’s own performance of a text that, although it dealt with the music of J.S. Bach, I felt it was directly related to what was to come: that one actor would pull a thread from a complex literary work and show us. That is exactly what Unnur Ösp does in the performance Salka – love and death, which premiered yesterday under the imaginative and warm direction of Björn Thor. Filippía I. Elísdóttir dressed her in clothes that Salka Valka would have appreciated, ribbed velvet trousers and a stylish blouse, both in brown tones reminiscent of an old photograph. Filippía also designed the minimalist set, which nevertheless said and showed everything that was needed. Björn Bergsteinn Guðmundsson supported the drama with purposeful narration, while Aron Þór Arnarsson was in charge of sound design and Davíð Þór Jónsson was in charge of arrangements, and Unni Ösp was a reliable support with the music in the show, which was ice-cream-like and beautiful.

I have seen several attempts to stage the novel Salka Valka in my life, but the only one that had succeeded until now, in my opinion, was the Reykjavík Theatre Company's performance of Stefán Baldursson's play in Iðnó in 1982. Guðrún S. Gísladóttir played Salka Valka and brought with her a selection of actors in other roles, Margrét Helga Jóhannsdóttir was Sigurlína, Þorsteinn Gunnarsson was Steinþór and Jóhann Sigurðarson Arnaldur, to name just the main roles. It is difficult to compare the different ones now, Unnur Ösp only has herself. And she has no qualms about it, but acts in a very gentle way, speaking to the audience with warmth and sincerity, letting them know what it is she is going to do and then getting down to business, telling us the story from when little Salka and her mother are washed ashore on Óseyr in Axlarfjörður until Sigurlína dies. In between, they experience love in various forms, varying in beauty.

Unnur switches with great taste between telling the story, reading out well-chosen short excerpts from the text and acting out important scenes. She uses very clever tricks to switch between characters – a hand raised in her hair and Sigurlína has arrived, a bent back and a hand on a stick and there is old Eyjólfur, others are created with changes in voice and facial expressions but are just as obvious. Even the conflict between Steinþór and Salka is clearly portrayed even though there is only one actor. This is incredibly amazing.

It has been 95 years since Salka Valka’s first volume, Thou Pure Vine, was published, but the story has lost none of its impact and strength. Perhaps we find it an even more unique work of fiction now than people did then, and it was a really good idea to make it into a one-act play. But not many actors could fit into Unnar’s clothes there in the story loft. In fact, it would be easiest to say that this performance is a miracle, so unique is it in the actress's embodiment, her sincerity, and her deep understanding of the work and its characters. We Salkas bow deeply and thank you sincerely.

Silja Aðalsteinsdóttir

Published in Tímarits Máls og menningar, 8 February, 2026 (Google translated)