Bitef

Teatar Vidi Lozana E. T. E. Lozana, Švajcarska

Théâtre Vidy-Lausanne E. T. E. Lausanne, Switzerland

DOŠAO SAM DO KUĆE ALI NISAM UŠAO

I WENT TO THE HOUSE BUT DID NOT ENTER

Koncept, muzika i režija:

Concept, music and directing:

Hajner Gebels

Heiner Goebbels

21. i 22 septembrar, 20:00 Jugoslovensko dramsko pozorište (Velika scena „Ljuba Tadić") Trajanje; 120' - sa pauzom

September 21 st and 22 nd , 20:00 Yugoslav Drama Theatre (Stage "Ljuba Tadić" ) Duration: 120' - with intermission

„Ü planinama grla postaju slobodna! Pravo je čudo kako se ne raspevamo.“ Franc Kafka, Izlet и planine Već i sam naziv ovog uprizorenog koncerta, razvijenog u saradnji sa čuvenim Ansamblom Hilijard, nagoveštava da se tokom izvođenja neće dešavati ništa narodito. U tome je možda tajna muzičko-pozorišnih delà Hajnera Gebelsa - uprkos iti možda zbog izostanka spektakla njegova ostvarenja tako vanredno deluju na pažnju gledalaca. Izuzetno snažna izvođenja Ansambia Hilijard - glasovi su im obudavani na muzici srednjeg veka - dije se pevanje zasniva na dudesnoj uzdržanosti i obuzdavanju glasa, što je upečatljivo drugadije od pompe, desto svosjtvene operskom stilu pevanja. Ova opdinjenost vokalnom istrajnošću je polazna tadka najnovije kompozicije Hajnera Gebelsa u Teatar Vidi Lozana sa istom stvaraladkom ekipom sa kojom je radio vedinu svojih novijih ostvarenja muzidkog pozorišta: Klausom Grinbergom (scenografija i rasveta), Florensom fon Gerkanom (kostimi) i Vilijem Bopom (ton).

"In the mountains the throats become free! It is a wonder that we don't burst into song." Franz Kafka, Excursion into the Mountains Already the title of this staged concert, developed with the world famous Hilliard Ensemble, suggests that nothing much will happen during the piece. Therein lies perhaps the secret to the music-theatre-works of Heiner Goebbels: Despite (or perhaps because of) the lack of spectacle, his works have an extraordinary effect on the attention of the spectator. The uniquely intense performances of the Hilliard Ensemble - whose voices are trained in the music of the Middle Ages - are based on a wonderfully restrained presence that is strikingly different from the pomp often characteristic of the singing style found on the operatic stage. This fascination for vocal insistence is the starting point for Heiner Goebbels' latest composition developed at the Théâtre Vidy-Lausanne with the same creative team with whom he has collaborated on most of his recent music-theatre works: Klaus Grünberg (stage design and lighting), Florence von Gerkan (costume) and Willi Bopp (sound).