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Archive for the ‘Texte über opera silens’


Neue Zeitschrift für Musik (August 2002)

Lutz Lessle: … und als Coda ein Verwirrspiel - über opera silens
“Im Lichte dieser “Reduktionsästhetik”, die dem erzählfleißigen und gefühlstriefenden Opernabend, dem opulenten Staatstheater auf allen Ebenen zuwiderhandelt, entweiht die opera silens das Singschauspiel seither zum theatralischen Zeichensystem: Stimme und Musik, Text und Gebärde, Licht-Bilder und Raum-Metaphern, Kostüme und Requisiten beschreiben ein sinnoffenes Beziehungsfeld, das die Projektionen des Zuschauers anregt und ins Spiel einbezieht.”

Taz Hamburg (22.5.1998)

Barora Paluskova: Filigrane Skurilitäten
“Groß, laut und bombastisch: Keine Bühnenkunst ist stärker an gewichtige Attribute gefesselt als die Oper. Genauso soll es in den Stücken von opera silens gerade nicht zugehen, wie schon der Name nahe legt. Die Gruppe um Regisseur Hans-Jörg Kapp, Dramaturg Torsten Beyer und Pianist Jochen Neurath will ein Gegengewicht zum Opernpathos schaffen. Sie bevorzugt eine Musik der Ruhe und stemmt sich gegen den kulinarischen Umgang mit dem Genre. Oper für Genießer? Nein danke, sagen Kapp und Beyer.”

Theatre Research International, Volume 29, Issue 01 (March 2004)

Nikolaus Müller-Schöll über die opera-silens-Produktion acqua acqua acqua acqua in: Theatre of Potentiality. Communicability and the Political in Contemporary Performance Practice

“When the spectators enter in small groups the room where the theater takes place they are for a short moment in the position of the renaissance prince whom the dramatic theater in its origins is created for. Placed on a rostrum they may overlook for once the whole set-up of the stage, a scene which collects all kinds of strange machines and instruments, amongst them an automatic piano and a small model of the stage as a whole, a collection of “treasures”, items which give the impression of both the baroque “Kunstkammer” (Bredekamp) as well of the modern collections of junk dealers. In an emblematic way the age of the “madrigali” is exposed as an age of repetition and of a loss of transcendence. In absence of a worldly escape out of the finite existence the world becomes empty of sense, a space of endless repetitions - the opening scene is repeated over and over again until everybody has been placed. During the evening the spectator is always in the picture, sees at the beginning the other spectators entering and taking their seats, can watch them watching the scene. Placed next to the players of the orchestra one gets aware of the fact that one is no longer in the position of the sovereign but rather in that of a baroque consciousness of finitude because there is no place in the room from which everything can be grasped except on the rostrum which becomes part of the play. Mourning, the topic of the “Madrigali”, appears as expression of a loss of transcendence characteristically both for the immanent world of the age of the baroque as for our days in the age of globalization. The double perspective turns the spectator into the space of a conflict, lets him become aware of the claim to sovereignty which has survived in the architecture of most of the contemporary theaters being still centered around the idea of an ideal sovereign perspective. This claim is exposed as an ideological element in contemporary theater architecture and paradigmatically placed next to the architecture of the former factory in which the production is taking place.”