1993

Vision Europe - a door for the stranger

3rd Theatre Festival of European Avant-Garde 17 – 21 November 1993

Theater and dance from old and new Europe Under the patronage of Dr Hinrich Lehmann-Grube – Mayor of the City of Leipzig

Festival Director: Ann-Elisabeth Wolff Festival Director and Artistic Director: Matthias Renner (died 30 October 1993)

Programme 1993

I. Herzog Blaubarts Burg (Duke Bluebeard's Castle) / II. Erwartung (Expectation)

Admittedly the double-feature performance was well-suited to attract positive attention to Leipzig's opera and its daring concept ... Konwitschny did ... became serious about the idea of play-linking, in so far as that he at least suggested, a virtually continuous plot is possible ... In its suspense and totality the evening was both gripping and encouraging

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Red

A passionate beauty on stage and an austere, introvert woman on the screen – two versions of a person. Past and future meet in two contrasting art forms: ancient dance rites and video paraphanalia of our waning century's last decade. Emancipation was desired, bitterly fought for, utterly cursed and then finally discarded. What remained was woman's desire for her alter ego; deeply buried by existing morals and conformity as well as by the overshadowing desire to be man's peer.

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Nouvelles (Novelle)

Spots, lanes, and squares of light create an image of a seemingly unending stage. Glowing blue in the prevailing twilight, only a wall limits the stage's infinity. It is this wall which the men and women want to scale; angrily they leap its face, refuge-seeking they lean against it. The wall becomes a focal point, it indicates the inherent limits which eventually everyone must face by himself.

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A murit moartea, mai! (Hey you, Death is dead!)

A carnival, full of tumult and yelling. A peasant boy, Ivan by name, rather likes the young woman who seeks his company – and who later turns out to be the cause of his death. Angel and devil accompany Ivan throughout his life, he searches for the beautiful woman to help him; only with her doesn't the fear death. He wanders through paradise and hell, or is it simply a carnival stage where dolls, skeletons, masks, Satan and God try to bewilder him? Grief-struck over his inability to find the woman, Ivan takes to drink and everything ascends into space, hence-forth death will throw a steady shadow as his faithful companion.

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Retrace the Defaced

The play starts with humour. Bare feet and calves touch in sharly-defined rays of lights, hug each other, and form erotic figures. Flat, rocky islands appear to float in an ocean. Suddenly a wild mayhem of fights, rivalry, appeal and rejection errupts between two slender female and three male dancers.

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Ester

Haman, a minister at the Persian imperial court, plans to exterminate all local Jews in a blood-bath. The Persian emperor Artaxerxes desires the beautiful Jewess Ester without knowing her racial heritage. The girl surrenders herself to the emperor as soon as she receives word of the planned destruction of her people. She uses her new status to prevent the massacre. With it, victims become felons and not love but revenge rules the ensuing developments.

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Tengu

Light brushes the transparent, glittering foil. An almost nude, chalky-white figure winds itself hesitantly out of the protective plastic shroud. Slowly and intensively concentrated happens the birth of a being which, in a sudden fit of destruction, strikes at its immediate surroundings.

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Berichte für eine Akademie (Reports for an Academy)

Theatre's genius George Tabori's production hits its audience with tremendous impact in this startling linkage of stage action, Kafkaesque fantasy and reality.

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