In English

Petra Revenue, Sweden. Born in 1965.  Dramatist, director and writer for theatre, film, radio and Tv. If you click on Films on top of this website you will get more info on that subject.



Petra is also headteacher at  A school for profesional screenwriters.

Artist statement: My mission in life and art is fairly simple. I’m terrified of simple truths and black and white views. I aim to create characters and stories that carry complexity and ambivalence, and I want to do this in a beautiful and entertaining way. I combine the absurd with everyday reflections and in doing so I think I’ve found my style and mission.

Some credits and backsorty: Since 1990 she has been one of the artistic directors at Theater Trixter in her hometown of Gothenburg, Sweden. Before becoming a writer, Revenue studied social anthropology and is interested in what ties people together across language and cultural borders. Since her theatrical debut, Petra Revenue has written some twenty plays, several of which have received critical acclaim. These include The Least You Can Ask For (bilingual, Farsi/Swedish), The Dancer’s Woman (multicultural ensemble) and Valkyria (radio play that premiered on Swedish National Radio).

Revenue began to write for film and television with the TV drama The Big Theater for Swedish National Television (SVT). Since then she has written a wild mix, from screenplays for Henning Mankell’s Wallander to her own debut feature film Almost Elvis, where for the first time she combined her two genres film and theatre. Almost Elvis was selected for competition at the Sao Paulo Film Festival and the Mexico International Film Festival. In 2006 Revenue’s first book was published, a collection of short stories nominated for Swedish National Radio’s Short Story Award, an award that she won in 2009 with “The Best View” (originally published in an anthology for the humanitarian fundraising drive, Children of the World). She has continued to write in all genres.

Some exemples of work:
She wrote the script for the film The Ice Dragon. Among other festivals it was entered in competition at the youth section of the Berlinale.

Some of the Festivals Göteborg 27/1-6/2 youth-section Berlinale 9-19/2 Generation Kplus (in competition) Montreal children 3-12/3 (in competition) Buff 13-17/3 (in comp) Winner best film Kristiansand 24-28/4 (opening film) Newport Beach 26/4-3/5 Palic Serbia 14-20/7 Tel Aviv children 22-27/7 Winner best film youth jury + Winner best film adult jury Espoo Finland 17-26/8 Haugesund 17-23/8 Seoul youth 23-29/8 Nueva Mirada Buenos Aires 30/8-5/9 (in comp.)Lucas Frankfurt 2-9/9 Nordkapp 12-16/9 Buster Copenhagen 13-23/9 Festroia 21-30/9 Hamburg 27/9-6/10 Jerusalem/Ramallah 11-18/10 Cine Sparks Brisbane 15-20/10 Cinekid 17-26/10 wants to show Washington kids 17/10-13/11 Filem’on Brussels 28/10-4/11 Lübeck 31/10-4/11 Tallinn Black Nights 13-28/11+ Tallinn Just Film Kinodissea Rumänien 16-21/11 (in comp)Castellinaria 17-24/11 Olympia Athens 1-8/12

One of her most recent plays is Bardo, created in Iraqi, where she has a long-term collaboration with the Kurdish Fine Art Society.

Her most recent work in visual art was being part of Love Explosion, a group exhibition at Göteborgs konsthall. Gotheburgs artmuseum 2013.

Revenue co-created Blue Eyes, a 10-hour dramaseries for TV about the neo Nazi movement in Europe. Shown 2015–1016

Latest film: Meaty Marta, an animated film about the hungriest goldfish in the universe. For children 3–6 years old. 2017. Take a look here.

Latest book: Modersgölen. A fiction novel on the complex subject of femininity and fear. 2019

Upcoming play: Premiere March 20, 2020 INGEBORGS MANIFESTO

Our ambition with is to create a female character, a feminine body that speaks with Ingemar Bergman's words. We want to examine the following questions:

Is new meaning created if the male genius is not male anymore? Will Ingeborg provide the audience the same sense of security, a genius that we trust? How do we listen to Ingmar's words when the sender is someone completely different? How can our play constitute a comment on an ongoing discussion about gender as well as male and female language?
Writer / director Petra Revenue and dancer / choreographer / actress Gilda Stillbäck met during the project Mixed Minds 2018 and designed a pilot for Ingeborg's Manifesto. Together, the two artists found a seed to grow, a project that now finds it´s final format at Trixter.

Exploring Ingemar Bergman's way of addressing his employees and describing his private life with his own words was initially a humorous experiment. It became clear both how distant and frivolous he describes the break-up with women, his obsession with his own mother and the absence of empathy for his children as well as a total, almost narcissistic, focus on his work.

The paradox perhaps lies in the fact that despite these glitches in character he still manages to portray women who speak to us. Deep psychological portraits that we can relate to and want to see more of. How does this happen? How can our play be a comment to this enigma?

Just as Bergman himself, we are interested in Persona, masks, identity- dissolution and how, as an artist and a person, we present our image and soul both to ourselves and to others. Despite his constant outbursts and uncompromising work discipline, Ingmar Bergman was usually loved and praised by his actors and co-workers. His daughter Linn Ullman describes Ingmar's unique ability to see people, to listen to them and to make them feel safe. His way of talking about his shortcomings also made people more open to accept his moody character. The question remains: Would that behavior work for a woman?

Ingeborg's Manifesto will include both text and movement, dance and absolute stillness.




Residencies:  BERLIN 2014  THAILAND 2017