Robert Wilson
Robert Wilson
L’Opéra de quat’sous/Bertold Brecht and Kurt Weill
© Lesley Leslie-Spinks ©
© Lesley Leslie-Spinks ©
© Lesley Leslie-Spinks ©
Die Dreigroschenoper / L’Opéra de quat’ sous
Of Bertolt Brecht
Music, Kurt Weill
Direction,stage design, light, Robert Wilson
Conductors, Hans-Jörn Brandenburg, Stefan Rager
Costumes, Jacques Reynaud
Dramatic art, Jutta Ferbers, Anika Bárdos
Light, Andreas Fuchs
Make-up, Ulrike Heinemann
With Jürgen Holtz, Traute Hoess, Christina Drechsler, Stefan Kurt, Axel Werner, Gitte Reppin, Angela Winkler, Georgios Tsivanoglou, Mathias Znidarec, Martin Schneider, Boris Jacoby, Christopher Nell, Dejan Bu?in, Jörg Thieme, Uli Pleßmann, Heinrich Buttchereit,Janina Rudenska, Ruth Glöss, Anke Engelsmann, Gabriele Völsch, Gerd Kunath, Walter Schmidinger
Musicians, Ulrich Bartel, Hans-Jörn Brandenburg, Tatjana Bulava, Martin Klingeberg, Stefan Rager, Jonas Schoen, Benjamin Weidekamp, Otwin Zipp
With the support of Fondation Pierre Bergé – Yves Saint Laurent
With the help of Jean-Claude Meyer et de la RATP
Partnership with France Inter
Robert Wilson renews his collaboration with the Festival d’Automne with this version of Bertolt Brecht and Kurt Weill’s Threepenny Opera, performed by the Berliner Ensemble. Written in 1928, this story of gang war and corruption pioneered the musical comedy genre. The tale’s darkness is beautifully revived by Wilson’s reinterpretation of expressionist aesthetics.
In the same place
Anne Teresa De Keersmaeker, Radouan Mriziga / Rosas, A7LA5 Il Cimento dell’Armonia e dell’Inventione
In collaboration with the choreographer and dancer Radouan Mriziga, the challenge taken up by Anne Teresa De Keersmaeker is to make Vivaldi's Four Seasons heard, using the tools of dance to hone the way we listen to this baroque masterpiece. Under the auspices of abstraction, the resulting alliance reconnects with the imaginary ecological world that is conjured up by this famous concerto.
Rabih Mroué Who’s Afraid of Representation?
We find ourselves in the company of major figures of European Body Art (Joseph Beuys, Orlan, Marina Abramović, to name a few) via their accounts of exhibitions and public scarifications dating back to the 1970s. In parallel with this runs the true story of a killing spree carried out by a Lebanese office at his workplace, and the fluctuating motivations for his acts.
Lola Arias Los días afuera
At the crossroads between musical and documentary, Lola Arias brings us a choral composition in which six female former inmates talk about their lives during and after incarceration. Their six intertwining destinies raise questions about the various forms of violence present in contemporary society, whilst exploring the margins of fiction and reality at the same time.
Robert Wilson PESSOA – Since I've been me
The hero of this new work by Robert Wilson is Fernando Pessoa. And a paradoxical hero at that. The Portuguese poet spent his life 'multiplying himself', inventing heteronyms, or fictitious authors, to whom he attributed works he himself wrote. He even went as far as to invent relationships, either amicable ones or from master to disciple, between his different avatars.
Jan Martens VOICE NOISE
In this breakthrough piece for Jan Martens, VOICE NOISE brings together six dancers to shape a soundscape comprising some of the great female performers and composers of our time. In his own pop-inspired and precise way, the choreographer questions a very contemporary story, and in doing so raises the question of how some of these voices were silenced.