1{2 "document_id": "lb_hotpotqa_c1cfe7334235bf4a9ef11293d8be2d4055a70ac89334be2c",3 "family": "public_hotpotqa",4 "split": "test",5 "text": "Passage 1:\nDet Norske Jernkompani\nDet Norske Jernkompani also known as Jernkompaniet or Det store Jern Compagni, was a Norwegian iron company. It was established in 1618, as an initiative of Johan Post and Herman Krefting on the orders of King Christian IV. A royal privilege granted in 1624 meant that the company almost had a monopoly on iron production on an industrial scale within Norway. The company operated ironworks at Bærum, Eidsvoll, Fossum and Hakadal. After Johan Post died in 1631, Herman Krefting maintained an interest at the Eidsvoll and Bærums ironworks until his own death in 1651.\n\nSee also\nBærums Verk\nEidsvoll Verk\nPassage 2:\nDet norske Theater (Bergen)\nDet norske Theater is a former theatre in Bergen, Norway, and regarded as the first pure Norwegian stage theatre. It opened in 1850 (1850) by primus motor, violinist Ole Bull, and closed in 1863 (1863), after a bankruptcy. The theatre's first production was Holberg's comedy Den Vægelsindede, and the opening was on 2 January 1850. The theatre played at the old comedy house built in 1800.In 1876 the theatre Den Nationale Scene opened in the same building.\nPassage 3:\nSpråkåret 2013\nSpråkåret (The Language Year) in Norway was arranged with government support in 2013. That year was 200 years after Ivar Aasen was born. It was 100 years after Det Norske Teatret (The Norwegian Theatre) opened. Ivar Aasen's life work was the development of Nynorsk (New Norse), a language with grammar and vocabulary based upon the way ordinary Norwegians, primarily rural, spoke. After a few hundred years under Danish rule, many in the cities as well as everyone educated in Denmark, spoke and wrote Danish and Danish was taught in schools. Det Norske Teatret is a theatre in Oslo that primarily produces plays in Nynorsk.\nThese two jubilees were the main reasons for the decision to create a national year of celebration of languages. Språkåret 2013 was a stand-alone project, organised within the Nynorsk kultursentrum (Nynorsk culture center) and funded by the Norwegian Ministry of Culture.\n\nValuable cultural expressions\nThe purpose of Språkåret 2013 was to embrace and celebrate the diversity of language that exists in Norway. One sought to put focus on the positive effects that arise out of living in a country with several languages. The two official written versions of Norwegian, Bokmål and Nynorsk, the language of the indigenous people in the north, Sámi, and the three recognised national minority languages; Kvensk, romani, romanes as well as Norwegian sign language, another official language. In addition there is huge variation in local dialects as well as the many languages spoken by immigrants. The year of 2013 was dedicated to celebrating, discussing, and trying to raise awareness of the valuable cultural expressions and identities that are connected to languages and dialects.\n\nObjectives for the year\nTo create stronger linguistic self-esteem amongst people who have Nynorsk as their preferred language and moreover to heighten public acceptance of the country's language-divided culture.\nTo increase pride in the linguistic culture of Nynorsk, also among the people who have Bokmål as their preferred language.\nTo increase knowledge of and respect for the native language Sámi, minority languages, immigrant- languages and sign language.\nTo put the language situation in Norway into international and comparative perspectives.\nTo take an initiative to more contact among language-policy actors with common interests that cross linguistic borders and ethnicity.In an interview in December 2013, the leader of the language year project, the author Inger Johanne Sæterbakk, said that the language year had lived a life of its own; many arrangements occurred without central steering. No one knows how many there were, but it was more than a thousand. Sæterbakk said that she saw that the use of dialects have an emotional element, while written language is used more as a tool. While she regretted that it wasn't possible to engage minority language groups more, she was very pleased with the activity-level all around the country.\nPassage 4:\nLudvig Holberg\nLudvig Holberg, Baron of Holberg (3 December 1684 – 28 January 1754) was a writer, essayist, philosopher, historian and playwright born in Bergen, Norway, during the time of the Dano-Norwegian dual monarchy. He was influenced by Humanism, the Enlightenment and the Baroque. Holberg is considered the founder of modern Danish and Norwegian literature. He was also a prominent Neo-Latin author, known across Europe for his writing. He is best known for the comedies he wrote in 1722–1723 for the Lille Grønnegade Theatre in Copenhagen. Holberg's works about natural and common law were widely read by many Danish law students over two hundred years, from 1736 to 1936.\n\nStudies and teaching\nHolberg was the youngest of six brothers. His father, Christian Nielsen Holberg, died before Ludvig was one year old. He was educated in Copenhagen, and was a teacher at the University of Copenhagen for many years. At the same time, he started his successful career as an author, writing the first of a series of comedies.\nHe began to study theology at the University of Copenhagen and later taught himself law, history and language. He was not particularly interested in theology as a career, settling for an attestats (similar to a Bachelor's degree today), which gave him the right to work as a priest; he did not attempt a baccalaureus, magister or doctorate in the subject, nor did he follow a career as a theology professor, priest, or bishop. In Holberg's youth, it was common to study theology and specialize according to one's degree, for example in Greek, Latin, philosophy or history. For the purpose of becoming a lawyer, it was normal to study abroad. In 1736 the Danish Lawyer degree was established at the University of Copenhagen, a degree which continued to be granted for 200 years, and for which Holberg's writings remained common reading material throughout this time. Holberg was formally appointed assistant professor after having first worked as one without pay. He had to accept the first available position, which was teaching metaphysics. Later, he became a professor and taught rhetoric and Latin. Finally, he was given a professorship in the subject which he prized most and was most productive in, history.\nHolberg was well-educated and well-traveled. In his adolescence, he visited large cities in countries such as the Netherlands and France, and lived for a short period of time in Rome; and for a longer period of time in Oxford, England (1706–1708), which was rare during that time as intellectual life was centered in continental Europe. He was not formally admitted to Oxford University, but spent his time there using the libraries and participating in Latin discussions with the English students.\n\nWritings\nHolberg's travels were a main inspiration in his later writings – these experiences matured him both artistically and morally. Holberg let himself be inspired by old Latin comedies and newer French comedies he had seen in Paris, and street theaters in Rome.\nHis writings can be divided into three periods, during which he produced mainly history, 1711–1718; mainly satirical poetry and stage comedies, 1719–1731; and mainly philosophy, 1731–1750. His rich output of comedies during the middle period was shaped by his role as house dramatist at Denmark's first public theater, opened in Copenhagen in 1721. These comedies are the works on which his fame rests today, and they were an immediate and immense success. However the poverty caused by the Copenhagen Fire of 1728, brought a wave of depression and puritanism upon the nation, which clashed with Holberg's satirical works, and as a consequence he gave up his comedies switching to philosophical and historical writings in 1731. Holberg's only novel, the satirical science-fiction/fantasy Niels Klim's Underground Travels was originally published in Latin in 1741 as Nicolai Klimii Iter Subterraneum.\n\nIdeology\nIn Paris, Holberg met the Danish-born French scientist Jacob Winsløw, who was Catholic. Winsløw tried to convert Holberg, without success. Holberg enjoyed the debate, but it started a rumor in Copenhagen that Holberg had converted to Catholicism as Winsløw had, and as a consequence he felt it necessary to deny this to the Danish public, giving voice to anti-Catholic views on several occasions.Holberg criticized school doctrines in Christianity, arguing that \"Children must be made into men, before they can become Christians\" and\n\"If one learns Theology, before learning to become a man, one will never become a man.\"Holberg believed in people's inner divine light of reason, and to him it was important that the first goal of education was to teach students to use their senses and intellect, instead of uselessly memorising school books. This was a new, modern understanding of the question of religion, and it shows he was a man of the Age of Enlightenment. Holberg was interested in intellect because he felt that this is what binds society together. He also wondered why there was so much evil in the world, especially when one could let reason lead the way. One could say that he distanced himself from a religious explanation of evil towards a rational/empirical train of thought, and this is important because of his status as an author; both in his time and ours.\nHolberg was open to biblical criticism, and Holberg's religious representation was, for the most part, deism. He was critical of the notion of original sin, instead subscribing to the notion of man's free will.\nHolberg's declared intentions with his authorship were to enlighten people to better society. This also fits in with the picture of Holberg as of the age of enlightenment. It is worth noting that Holberg enjoyed larger cities with deep culture – small cities and nature did not interest him.\nLike many scholars of his time, Holberg also influenced science. Holberg's concept for science was that it should be inductive (through experience built on observations) and practical to use. One example is his Betænkning over den nu regierende Qvæg-Syge (Memorandum on the prevalent cattle disease), (1745) where he reasons that the disease is caused by microorganisms.\n\nFinances\nIn youth\nHolberg had to live a modest life in his youth and early adulthood. He earned a living as a tutor and as a travel companion for noblemen and tried to work as a private sports coach at the university. He received further support from a grant to travel to other universities in other countries, namely Protestant universities, but it was a condition he did not respect since he searched out those places where the discussion were the loudest and the experiences were the largest.\nDuring his stay in England, Holberg set his eyes on academic authoring and on his return, he started writing about history. Later, he wrote also about natural and international law, possibly at the prompting of an older professor who likened him to natural and international law authors such as Hugo Grotius and Samuel Pufendorf.\nTo make the most possible profit, Holberg published his own works and sold them as papers under a subscription to interested people, either bound or in looseleaf sheets. Holberg also tried, with some success, a publisher in Norway. There, his book about natural and international law was printed in several editions but did not garner him financial gains.\n\nInvestments\nHolberg lived modestly and was able to invest a large part of the profits from the sale of his books on the side and lend them out or invest them in more active ventures. Several times in his writings he criticized townspeople and nobles who used their resources in unproductive ways to be carried round in chairs, to live in lavish houses and waste money on luxury. He ate reasonably and did not use his money on being driven around. He said that his travelling on foot, and continued walking, was the reason he could keep his malaria, which had plagued him in the south, under control.\nWhen he came to the conclusion he could put his money in better ventures than trading, he started investing in real estate. His first large property purchase, Brorupgaard close to Havrebjerg, happened in stages; first he lent money to the owner at that time, and later took over the farm himself.\nSome years later, Holberg also purchased Tersløsegard by Dianalund, the only one of his properties which is preserved because the others in Bergen, Copenhagen and Havrebjerg have been either burned down or torn down.\n\nSorø Academy and Holberg's will;Holberg was both unmarried and childless, but in the end of his life had a small fortune. He was interested in leaving a legacy and left his estate to Sorø Academy, which was a royal riding academy, with the goal of creating an institution at a university level for young men coming from nobility. Holberg supported the idea of the academy, worked out suggestions to which academic direction it would take and was asked by the king's superintendent to refer some professors for the school. The influential Enlightenment writer Jens Schielderup Sneedorff was appointed professor at Sorø Academy at Holbergs request.\n\nThe agreement with the king included that Holberg would be free of taxes from any income from the farms he owned, because the amount donated to the school should be larger than the amount he would pay in taxes. At the same time, he earned the title of Baron of Holberg.\nHolberg's casket, a work of Johannes Wiedewelt, can be seen in Sorø Monastery Church.\n\nExamples of Holberg's financial management\nIt can be seen from Holberg's correspondence that he was very conservative with money where he thought it would not be of any use; for example, he was against raising the wage of the pedagogues of Havrebjerg.\nHolberg commented several times that he was willing to use money if it were put to good use, for example, he would use money on medication and supplies for his farm hands if they suffered from injury or illness.\nWhen academia had large economic difficulties, because funding was very limited, Holberg agreed to help fund the academy (at Sorø Academy) while he was alive.\n\nTributes\nNorwegian Edvard Grieg composed the Holberg Suite (opus 40) to honor Holberg. The suite is in the style of country dances from Holberg's time. In 1911 Johan Halvorsen composed incidental music for a production of Holberg's Barselstuen (The Lying-in Room) in Oslo. Halvorsen later arranged the music into his Suite Ancienne op. 31, which he dedicated to the memory of Holberg.\nThe Norwegian University of Bergen awards the Holberg International Memorial Prize. The 4.5 million kroner (ca. €520,000) endowed prize was awarded to Julia Kristeva in 2004, to Jürgen Habermas in 2005, and to Shmuel Eisenstadt in 2006.\nThere is a town named after Holberg on northern Vancouver Island, British Columbia, Canada. It was founded by Danish immigrants in 1907.\nDan Shore's opera The Beautiful Bridegroom, for six sopranos, is based on Holberg's last play, Den forvandlede Brudgom.There is a statue of Holberg and a boulevard named after him (Holbergsallmenningen) in the centre of Bergen, Norway.\nA crater on Mercury is named for him.\n\nWritten works\nComedies\nDen Politiske Kandestøber, 1722 (Eng. The Political Tinker / The Pewterer turned Politician)\nDen vægelsindede, 1722 (Eng. The Waverer / The Weathercock)\nJean de France eller Hans Frandsen, 1722 (Eng. Jean de France)\nJeppe på bjerget eller den forvandlede Bonde, 1722 (Eng. Jeppe of the Hill, or The Transformed Peasant)\nMester Gert Westphaler, 1722 (Eng. Gert Westphaler)\nBarselstuen, 1723 (Eng. The Lying-in Room)\nDen ellefte Junii, 1723 (Eng. The Eleventh of June)\nJacob von Tyboe eller den stortalende Soldat, 1723 (Eng. Jacob von Tyboe, or The Bragging Soldier)\nUlysses von Ithacia, 1723 (Eng. Ulysses of Ithaca)\nErasmus Montanus eller Rasmus Berg, 1723 (Eng. Erasmus Montanus or Rasmus Berg)\nDon Ranudo de Colibrados, 1723\nUden Hoved og Hale, 1723 (Eng. Without Head or Tail)\nDen Stundesløse, 1723 (Eng. The Fidget)\nHexerie eller Blind Allarm, 1723 (Eng. Witchcraft or False Alert)\nMelampe, 1723\nDet lykkelige Skibbrud, 1724 (Eng. The Happy Capsize)\nDet Arabiske Pulver, 1724 (Eng. The Arabian Powder)\nMascarade, 1724 (Eng. Masquerade)\nJulestuen, 1724 (Eng. The Christmas Party)\nDe Usynlige, 1724 (Eng. The Invisible / The Masked Ladies)\nDiderich Menschenskraek, 1724 (Eng. Diderich the Terrible)\nKildereisen, 1725 (Eng. The journey to the source / The source Journey)\nHenrich og Pernille, 1724–1726 (Eng. Henrik and Pernille)\nDen pantsatte Bondedreng, 1726 (Eng. The Pawned Farmers helper / The Peasant in Pawn)\nPernilles korte Frøkenstand, 1727 (Eng. Pernille's Brief Experience as a Lady)\nDen Danske Comoedies Liigbegængelse, 1727 (Eng. Funeral of Danish Comedy)\nDen honette Ambition, 1731 (Eng. The honest/honourable ambition)\nDen Forvandlede Brudgom, 1753 (Eng. The Changed Bridegroom)\nPlutus eller Proces imellom Fattigdom og Riigdom, publ. 1753\nHusspøgelse eller Abracadabra, publ. 1753 (Eng. The house's Ghost or Abracadabra)\nPhilosophus udi egen Indbildning, publ. 1754\nRepubliqven eller det gemeene Bedste, publ. 1754\nSganarels Rejse til det philosophiske Land, publ. 1754 (Eng. Sganarel's Journey to the Land of the Philosophers)\n\nPoems\nPeder Paars, 1720\nfire Skæmtedigte, 1722 (Eng. Four poems for fun)\nMetamorphosis eller Forvandlinger, 1726 (Eng. Metamorphosis or Changes)\n\nNovels\nNicolai Klimii iter subterraneum, 1741. (Translated to Danish by Hans Hagerup in 1742 as Niels Klims underjordiske Rejse.) (Eng. Niels Klim's Underground Travels or Nicolai Klimii's subterranean Journey or The Journey of Niels Klim to the World Underground Bison Books, 2004. ISBN 0-8032-7348-7)\n\nEssays\nMoralske Tanker, 1744 (Eng. Moral thoughts)\nEpistler, 1748–54\nMoralske Fabler, 1751 (Eng. Moral Fables)\nTre latinske levnedsbreve, 1728–1743\n\nHistorical works\nIntroduction til de fornemste Europæiske Rigers Historier, 1711 (Eng. Introduction to the Greatest European Empires Histories)\nMorals Kierne eller Introduction til Naturens og Folke-Rettens Kundskab, 1716 (Eng. The Core of Morality or Introduction to Natural and International Law)\nDannemarks og Norges Beskrivelse, 1729 (Eng. Denmark's and Norway's Description)\nDannemarks Riges Historie, 1732–35 (Eng. The Danish Empire/Kingdom's History)\nDen berømmelige Norske Handel-Stad Bergens Beskrivelse, 1737 (Eng. The Famous Norwegian Commercial Hub Bergen's Description)\nAlmindelig Kirke-Historie, 1738 (Eng. General Church History)\nDen jødiske Historie fra Verdens Begyndelse, fortsat til disse Tider, 1742 (Eng. The Jewish History From the Beginning of the World, Continued till Present Day/These Times)\nAdskillige store Heltes og berømmelige Mænds sammenlignede Historier, 1739–53 (Eng. Several Great Heroes' and Famous Men's Compared Histories)\nAdskillige Heltinders og navnkundige Damers sammenlignede Historier, 1745 (Eng. Several Heroines' and Noteworthy Ladies' Compared Histories)\n\nMemoir\nMemoirs of Lewis Holberg, 1737 (published in English, 1827)\n\nSee also\nChristian Gotlob Mengel\n\nNotes\nPassage 5:\nLucie Wolf\nLucie Wolf (née Johannesen; 25 May 1833 – 6 October 1902) was a Norwegian stage actress.\n\nBiography\nBorn in Bergen, Wolf was the daughter of Svend Johannesen (1796–1882) and Johanne Andrea Jonsdotter (1799–1862).She made her stage debut in 1850 at Ole Bull's Det norske Theater in Bergen. From 1853 she played at Christiania Theatre and from 1901 at Nationaltheatret. She had her last stage performance in 1902.She wrote about her experiences on the early Norwegian theater in Skuespillerinden Fru Lucie Wolfs Livserindringer (1897).\nShe was married in 1854 to the Danish actor and opera singer Jacob Wilhelm Nicolay Wolf (1824–1875).Their daughter Sigrid Wolf-Schøller (1863-1927) became a opera singer (mezzo-soprano) and music educator.\nPassage 6:\nThe Feast at Solhaug\nThe Feast at Solhaug (or in the original Norwegian Gildet paa Solhoug) is the first publicly successful drama by Henrik Ibsen. It was written in 1855 and had its premier at Det norske Theater in Bergen on 2 January 1856. Part of the strength and charm of this play as well as Ibsen's other early poetic works results from the style of the poetic form and the inherent melody of the old ballads for those who speak Scandinavian languages.\n\nPlot\nThe play opens on the day of the feast celebrating the third wedding anniversary of the marriage of Bengt Gauteson and Margit. Erik of Hogge, a friend of Knut Gesling, the King's sheriff, and Knut himself are seeking permission for Knut to marry Margit's sister, Signe. Knut, a warlike man, is advised that he must demonstrate peaceful ways for a year before Margit will support the marriage. They are invited to the feast, under pledge that they will be peaceful that night.\nThey depart to look for Margit's kinsman, Gudmund Alfson, who they know to be outlawed and suspect to be nearby. Once they depart and her husband leaves, Margit speaks of her regret in marrying Bengt Gauteson, even though he was a wealthy older landowner. Her woe is captured by her phrase, \"I myself am the Hill-King's wife!\"\nGudmund Alfson arrives. Margit, who has loved him since he departed three years earlier, treats him poorly until she realizes that, although once close to the king, he has been outlawed and is on the run. She then dreams of marrying him and obtains poison to administer to Bengt.\nMeanwhile, Gudmund speaks to Signe, who has grown up since he last saw her, expressing his love. Signe remembers him well and is most willing.\nKnut returns in the evening for the feast. Finding Gudmund there, although he is the sheriff, Knut does not take Gudmund to demonstrate his intent to be peaceful, but declares that this day shall end peacefully.\nThey both speak together, expressing their intent to marry. After some discussion they both proclaim, and realize they woo the same woman. Since Signe loves Gudmund, Knut announces he is leaving peacefully, but will return in the morn to take Gudmund.\nMagrit prepares to poison Bengt after many of the guests depart, leaving him a poisoned drink as she goes to bed. He is advised of Knut’s return and, setting aside his drink, goes to meet Knut and his men. Gudmund & Signe enter and almost drink the poison.\nAs Knut returns in the morning and meets Bengt who is set upon defending his household, Knut slays him. Bengt’s friends capture Knut and bring him before Margit.\nThe king’s men arrive. Gudmund is prepared to surrender, but finds that the king has recognized his error and restored all of Gudmund’s property and standing.\nMargit wishes Gudmund and Signe well and goes off to St. Sunniva's cloister.\n\nList of main characters\nBENGT GAUTESON, Master of Solhoug.\nMARGIT, his wife.\nSIGNE, her sister.\nGUDMUND ALFSON, their kinsman.\nKNUT GESLING, the King's sheriff.\nERIK OF HEGGE, his friend.In the first staging of the play, at Det norske Theater in Bergen in 1856, the main characters were performed by Johannes Brun as Bengt Gauteson, his wife in real life Louise Brun as Margit, Fredrikke Nielsen as Signe, Jacob Prom as Gudmund Alfson, Andreas Isachsen as Knut Gesling, and Carl Hansen as Erik of Hegge. The director was the playwright himself, Henrik Ibsen.\n\nReferences and notes\nExternal links\n The Feast at Solhaug at Project Gutenberg\nGildet paa Solhoug, free e-book of the Norwegian text, at Project Runeberg. (in Norwegian)\nPassage 7:\nPer Sunderland\nPer Sunderland (9 October 1924 – 4 June 2012) was a Norwegian stage actor and film actor. He made his stage debut at Studioteatret in 1945. He performed at Det Norske Teatret from 1949, at Det Nye Teater from 1951, at Folketeatret from 1952, and at Nationaltheatret from 1957. He played the title role in the film Hans Nielsen Hauge from 1961.\n\nPer Sunderland retired from stage and film when he reached the age limit in 1995. Shortly before he retired, he was appointed a Knight of the 1st Class of the Order of St. Olav. Sunderland died on 4 June 2012.\nPassage 8:\nNynorsk Literature Prize\nThe Nynorsk Literature Prize is awarded annually by Noregs Mållag, Det Norske Teatret and Det Norske Samlaget for the best book in either Nynorsk or dialect. The award is presented for the best novel, poetry, novellas, or drama in the past year.\n\nWinners\nList of winners.\n1982 – Eldrid Lunden, Gjenkjennelsen\n1983 – Kjartan Fløgstad, U3\n1984 – Alfred Hauge, Serafen\n1985 – Paal-Helge Haugen, Det overvintra lyset\n1986 – Kjartan Fløgstad, Det 7. klima\n1987 – Edvard Hoem, Ave Eva\n1988 – Johannes Heggland, Meisterens søner\n1989 – Helge Torvund, Den monotone triumf\n1990 – Liv Nysted, Som om noe noengang tar slutt\n1991 – Marit Tusvik, Ishuset\n1992 – Jon Fosse, Bly og vatn\n1993 – Einar Økland, Istaden for roman og humor\n1994 – Solfrid Sivertsen, Grøn koffert\n1995 – Lars Amund Vaage, Rubato \n1996 – Oddmund Hagen, Utmark\n1997 – Marie Takvam, Dikt i samling\n1998 – Brit Bildøen, Tvillingfeber\n1999 – Åse Marie Nesse, Dikt i samling (1999), Faust (1993, 1999) and Mitt hjarte slo (1999)\n2000 – Rune Belsvik, Ein naken gut\n2001 – Ragnar Hovland, Ei vinterreise\n2002 – Inger Bråtveit, Munn mot ein frosen fjord\n2003 – Jon Fosse, Auge i vind\n2004 – not awarded\n2005 – Øyvind Vågnes, Ekko\n2006 – Eilev Groven Myhren for Ringdrotten, a translation of The Lord of the Rings\n2007 – Frode Grytten for Rom ved havet, rom i byen, novella\n2008 – Gunnhild Øyehaug for Vente, blinke, novel\n2009 – Kjartan Fløgstad for Grense Jakobselv, novel\n2010 – Jan Roar Leikvoll for Fiolinane, novel\n2011 – Marit Eikemo for Samtale ventar, novel\n2012 – Lars Amund Vaage for Syngja, novel\n2013 – Sigrun Slapgard for Englestien, novel\n2014 – Lars Petter Sveen for Guds barn, novel\n2015 – Eirik Ingebrigtsen for Spikrar frå fallande plankar, novel\n2016 – Ruth Lillegraven for Sigd, poems\n2017 – Olaug Nilssen for Tung tids tale, novel\n2018 – Brit Bildøen for Tre vegar til havet, novel\nPassage 9:\nSvein Tindberg\nSvein Randor Tindberg (born 25 June 1953) is a Norwegian actor. He was born in Oslo; the son of Snorre Tindberg and Inger Mogstad. He made his stage debut 13 years old at Det Norske Teatret in 1966, in the musical The King and I. As an actor, he has worked for Fjernsynsteatret, Det Norske Teatret, Trøndelag Teater and Nationaltheatret. His film debut was in Rallarblod from 1979. His one-man performances with texts based on The Bible became very popular. His prizes include Teaterkritikerprisen, the Telenor Culture Award in 1995, Bibelprisen in 1996 and Brobyggerprisen in 2001.\nPassage 10:\nAloysius Valente\nAloysius Valente (15 October 1926 – 23 March 2013) was a Norwegian dancer, choreographer and stage instructor. He was born in Oslo. He made his breakthrough in the performance Veslefrikk med fela, based on a traditional fairytale. This story was later basis for the first Norwegian dance film from 1953, where he played the title role. He later worked for a number of institutions, including Nationaltheatret, Den Nationale Scene, Det Norske Teatret and Den Norske Opera, and also produced television shows.",6 "char_len": 27087,7 "document_hash": "4a69e859f3ed34c818cda625e2b6f81ce931e3b0a700fd8ad008122c5988bf57",8 "questions": [9 {10 "question_id": "q00",11 "qtype": "hotpotqa",12 "question": "What title did the author of Det norske Theater's first production hold ? "13 }14 ]15}