Sylvia, Act 2, No. 9: La Grotte dOrion (Piano Reduction)

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Andreas Delfs [b. George for Chorus and Orchestra, Op. Mark Passion, BWV reconstr. Alexander Grychtolik [b. Palazzetto Bru Zane - Portraits, Vol. Hubert Lied - horn solo, Horn Solo c. Live, Aug. Live Sept. Yes, it's Orff on period instruments! Ich komm' mit der Zither, Stille, stille! Leise, still! Hector Berlioz []. Bissoli , Choros No.

Gennady Belov [b. March 2, , Piano Concerto No. April 5, , Saudades do Brasil, Op. June 13, Vissarion Shebalin []. Luc van Hove [b.

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Richard Wagner []. Marius Constant []. Matthew Passion Thou restless wind, Cradle song, The star of love, The spring and summer both are past, The winds that waft my sighs to thee, Good night and pleasant dreams, Old friends and other days, The leaves are turning red, Soprano, Piano and Flute: Orange flowers, Happy birdling of the forest, Mezzo-soprano, Soprano and Piano: Over the silvery lake.

Andrea Bissoli [b. Passez toujours! Einmal schaut er sie an und fragt: "Bist du da? Everyone must make up their own mind about what lies beyond and any higher being. But what would such a being see if it observed people on this side? Perhaps creatures like the three rolling around the dancefloor of the Frankfurt Mousonturm. One begs for a little bit of love in ludicrous, red platform shoes and an alien with giant ears and a face mask bedecked with glittering stones chirps strange arias.

The third is initially maltreated by the others and then healed — with the help of an ear candle that is set alight as if we were visiting an Indonesian natural healer. Meg Stuart may have imported the idea of the ear torch from Indonesia as this is where inspiration for her most recent performance has been sought. Could this supernatural sorrow be a being that rules over everyone and everything? Or a misery that besets the heavens and is simply observing human creatures and the idiocy that they perpetuate on Earth.

Meg Stuart is anything but someone who regards herself as a god. Kuswidananto is responsible for the heavens to a large extent. He nevertheless makes them look earthly using many different-sized light bulbs, some loudspeakers with a retro look and interlinked crystal chandeliers. The sound, sometimes culminating in ear-splitting noise, is provided by the live musicians Mieko Suzuki and Ikbal Simamora Lubys, who initially produce such a spherical prelude that the audience fears that the performance will not progress beyond joss sticks, a little bit of hip movement and bizarre garments like a cape crocheted out of golden festive garland.

Memory is explored with little distinction between personal and social aspects while there are sharp borders alongside a conciliatory note, supported and provoked by everything from a hard beat to the Indonesian tearjerker, the latter presented as a procession under a cape of flashing lights. Eine bettelt in aberwitzigen roten Plateauschuhen um ein bisschen Liebe, ein Alien mit Riesenohren und einer glitzersteinbestickten Gesichtsmaske zirpt seltsame Arien. Ein doppeldeutiger Titel. Die Handicaps der Welt jedenfalls, die Stuarts Performer im Gitarren- und Trommelgewitter hervorholen, waren ein letzter, quietschbunter Knall.

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Be it other stuff. Movement stuff. Language stuff. He talks a bit and she dances a bit. Then she talks, and he… tries to move a bit. Summarized in two sentences, Shown And Told would look a bit like… this.

Delibes: Sylvia - Act 2 - No. 9 La grotte d'Orion (Scène)

Meg Stuart and Tim Etchells. A combination that undoubtedly will arouse the interest of many festival programmers. A well-known choreographer Damaged Goods and a respected performance artist Forced Entertainment collaborating. It feels more like a low-key workshop. They have been working together on a number of occasions in the past. Assemble them, disassemble them. And it is interesting to see somebody do the same in another language. Bringing that to Meg opens it in a different way. Many forces, narratives and possibilities move through us in any give moment.

What they come up with on stage might be simple, light and straightforward, but by the way they present all of this to an audience, you just feel that these two bodies and minds carry a couple of decades of experience. And rather than storming and conquering the surroundings, as you might expect from a young artist, Wouters negotiates the existing infrastructure with great intelligence.

Inspired by the spectacles des machines of the eighteenth-century scenographer Giovanni Servandoni, he invited fourteen writers, theatre producers, choreographers and architects to create an infini: an interpretation of the painted backdrops that were once raised and lowered to lend depth to each new scene. Wouters reinvigorates this historic technique. They fully succeed in turning the theatre into an imagination machine.

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For over four hours, and from the one seat, you journey through time and space: from dead-end Palestinian tunnels and the office of the European border guard agency, Frontex, to a pitch-black room. The theatre as a black cube, from which everything and nothing might arise. Drawing on his vast knowledge and respect for theatre history, Wouters considers the future of the institute.

In so doing, he incidentally proves that younger creators are unafraid of big auditoriums, as is often claimed.

Furthermore, he is dismissive of the big messages presupposed by large auditoriums and reclaims the theatre as a studio, with space for experimentation. This thoughtful reflection on the theatre itself was greatly appreciated by the jury.


How can we rethink the central perspective of the classical theatre into an era in which nobody appears to be looking through the same glasses? Wouters shares his space with a wide range of up-and-coming international artists. Instead of one perspective, you gain a kaleidoscopic view of the world. The outlook is nothing less than infinite A performance as an unparalleled gesture. Als normale autobiografische Arbeit geht Hunter keinesfalls durch.

Doch ihrem Tanz ist zu entnehmen, wie hart dieser Kampf gewesen sein muss — auch wenn Meg Stuart zu Beginn von Hunter noch harmlos an einem Tisch bastelt.

Was da passiert, ist in einer Videoprojektion zu beobachten. Erst nach erfolgter Selbstbefreiung spricht die Choreografin selbst und live. Hunter ist ein Schatz von finsterer Brillanz. Vielleicht war das der erste Funke — ein kollektiver Traum, der aus dem Theater hinausfloss und sich langsam verbreitete, getragen von all den Anwesenden.

Das hat einen hedonistischen Aspekt. Je mehr das Feuer brennt, desto unsichtbarer und kleiner wird die Konstruktion, und dann wird auch die Gruppe von Leuten, die darum herumsitzen, kleiner, bis alle zusammenhocken und Stockbrot essen. Ist Empfindsamkeit eine Energiequelle? Und Fiktion? Oder die noch ungeborenen Fossilien, Minerale und Kristalle, die die Spuren unserer Zeit in eine ferner Zukunft tragen. Die Wirtschaftskrise und die sozialen Dramen, die mit ihr einhergehen, sind aus diesen Bildern, die zu keinerlei kritischer Betrachtung einladen, subtrahiert.

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Sylvia, Act 2, No. 9: La Grotte d'Orion (Piano Reduction) scored for Piano Solo

Brauchen wir vielleicht andere Bilder, um zu einer alternativen Betrachtungsweise dessen zu gelangen, was diese Ruinen hervorgebracht hat? Verwandeln wir sie in Museen der Moderne? Wenn man nach rechts blickt, sieht man wie die Fotos sich an der Wand bis zur Decke erstrecken. Vor etwa einem Jahr fanden wir uns in einer ehemaligen Zementfabrik wieder, wo Jozef Wouters eine Probe leitete, die sich mit dem Vokabular des Bauens befasste.

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Geht praktisch an die Sache heran. Manche halten sich nur einen Tag. Die Bilder an der Wand werden jeden Tag neu arrangiert. Die Reise entlang oder durch diese Fotografien erlaubte uns, uns mit den vielen nomadischen Figuren in ihnen und ihren extremen Reisen zu identifizieren. Ich freue mich darauf, es herauszufinden. Wir nicht.