![]() Costumes remind us a bit of Moebius characters The visual side of this work is where Mouawad’s creativity turns out to be the We are being plunged in a world forged by the text, by the reading, the tragedy things that actually are the bias of a stage director who is a man of theatre. The lyrics of the libretto aren’t merely screened on traditional supertitles device hanging above the stage: they are directly projected onto the mobile panels composing the stage sets, within the character’s reach. ![]() ![]() Some of the key quotes of Edmond Fleg’s libretto are simply said, others are yelled by the singers, but none are sung. As a result, instead of opening the opera with a musical overture, the performance starts with a prolog: a voice-over relates the crime once committed by Oedipus’s father, Laius, connecting this episode with the notions of desire and labyrinths. First, he quite unusually decided to focus more on the text than on music itself, or in other words, to mostly highlight the libretto.
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