widthIs Ivo van Hove available?A new version of the ubiquitous Belgian director Vocal Directed by Jean Cocteau, will be staged in London in March, starring Ruth Wilson. He filmed “The Glass Menagerie” (The Glass Menagerie) produced by Tennessee Williams for the Odéon in Paris. Just run At the home of his orchestra, the Amsterdam International Theater. He continued to tour several performances for ITA’s repertoire.His epic revenge drama Age of anger -About the Trojan War-It was planned to be held in Barbican in the spring, where his views on the death of Thomas Mann in Venice were defeated by the pandemic.
He is one of the hottest stage directors in Europe. Although his reputation stems from the radical and superb versions of ancient Greek tragedies and heavyweight American dramas, his rise is also inseparable from his passion for movies.Ingmar Bergman, John Casavitz and Lucino Visconti are among the film directors he reimagined for the stage with his partner designer Jan Weisved.
These collaborations have become the theme of the exhibition, all about the cinema, about the theater, by the duo by the Amsterdam canal Eye Shadow Museum. This is a show that makes you dizzy: desperately watch or re-watch the movie that inspired them, worry about the stage work you missed, and be shocked by the intricate and noisy world they develop-finally on TV The studio-cum-work restaurant fills the National Littleton Theatre The internet In 2017.
In the vast gallery space of the museum, the couple created many immersive rooms, each with its own unique setting to evoke stage works inspired by movies.You walk out of the independent cold blue room that commemorates their Antonioni project-based on three films by the Italian director-and walk to the messy family realm in Bergman’s marriage scene, where you sit in scattered cubes Watching Fan’s shots from the chair, Hoff’s actors blatantly criticize, resolve grievances and murderous dreams in the United States His huge adaptationThe room contains original props, costumes and recordings—played on directional speakers—as well as photos and notebooks. Many of them also juxtaposed scenes from the original movie with the corresponding shots of the stage version.
What it brings is not only the consistency of Van Hove’s style-he has developed increasingly complex live video applications on stage-but also his themes. In a fax to Bergman in 2004, he exhibited in “The Marriage Room Scene” and he wrote: “Family life… has always been at the core of my work as a director… It is inevitable in human life. Burdens and safe havens are a central point to talk about society and politics.” He may be talking about the Winfield family, who dig underground in the unpretentious setting that Versweyveld filmed for the Glass Zoo in Williams, Tennessee. Or the cocoon court of Ludwig II of Bavaria, whose tragedy—filtered through Visconti—he staged in Munich in 2011. Square, doubles as a dining table and boxing ring. That table occupies a room of the exhibition, with piles of dirty dishes and a pot of spaghetti bolognese.
In Rocco, actors gather to eat on stage, and this exhibition also attracts our senses. The first room used a citronella diffuser, which marked Van Hove’s 1999 song of India based on Margaret Duras’ experimental film. The warm light above and the carpet under our feet evoke the sleepy romantic feelings of Duras weaving. His characters are represented by black dresses and white linen suits, both designed by Dries van Noten and hung on On the mannequin. The installation complements the rather crude archival footage on the original stage (a reminder of how far the movie theater has gone) to understand the feeling of watching an intimate production that invites the audience to sit on the stage.
The back room, dedicated to Van Hove’s version of Visconti’s thriller obsessed, Full of a strong smell of rust.A huge dirty engine hangs from the ceiling like 2017 output, In which Jude Law plays a drifting mechanic, and his passion leads to his murder. Here, the engine is similar to a projector in that it is suspended in front of a screen with production clips; a huge shadow cast on the floor, reminiscent of oil spilled on the stage. I find that most of the Barbican performances are very tacky, especially Law’s crazy escape on the treadmill. But in the more compact space of the exhibition hall, you can see the quality of the performance by showing the screen-sized clips of the movie. A feeling of claustrophobia invades in a way that might not be possible on the expansive, exposed Barbican stage that presents Obsession.
The bulky engine itself may be a device that seems to be full of the essence of Obsession: a sweaty, spicy, and rather bulky product.The idea that objects can encapsulate drama is a concept pursued in a speech adapted from Van Hove After rehearsal, And Bergman’s original film, side by side. Director Henrik told the actor Anna that the furniture used in Strindberg in the theater-Miss Julie’s stool, the chair in the dream play-are “acquaintances”, and these items resonate with them. Used on stage before. This is an idea that Strindberg himself explored in “Dream Play”. It is said that an old shawl has absorbed years of sadness. But the actors also brought the remnants of their old roles-in an ensemble like ITA, this feeling is even more profound. Its core actors reappear from room to room in the exhibition, inviting us in their roles Establish connections between.
We sat on the “Hedda Gabler sofa” and watched the editing of After the Rehearsal—that is, the IKEA-style stained sofa used by Van Hove in his version instead of the elegant sofa used by Bergman.Stay long enough and the memories will return indoors Van Hoof’s Haida Gabler and Ruth Wilson in the country: The solemn piano, the framed gun, the flowers nailed to the wall. Another installation is shown in the exhibition room of Bergman’s Persona. This time he used the artwork that inspired Van Hoff, which he staged as a double bill. The waxed torso carved by Berlinde de Bruyckere is displayed in a cabinet, which stands on a flooded stage. Its reflection in the water ripples with the melted flesh and echoes Persona’s exploration of ambiguous identity.
In addition to Van Hove’s large number of handwritten notes and Versweyveld’s meticulous model boxes and photos, we can also experience their theatrical production methods and the editing of a documentary about making a husband, who is one of the three. John Kasawitz Show the stage together in a room. We watched the rehearsal footage from rows of old cinema-style seats, but a huge magnified photo on the adjacent wall reminded us of Van Hoff’s immersive audience in his theatrical world. The theater audience at Faces leaned on the bed together and watched the drama that unfolded around them.
This is a reminder that the era before social distancing and the pandemic continue to pose a threat to theaters. The day after I saw the exhibition and Van Hoof’s glass zoo, Netherlands Bringing forward the curfew for evening entertainment has caused ITA to cancel performances in the coming weeks. The exhibition is open every day and is worth a European tour (considering the past display of the duo and their stylish design, film and theater fusion, Barbican will become a natural space in London). But part of the exhibition’s accomplishment is that it complements the space of the stunning Eye Film Museum. Its last drama is how you get out of a room. In the room there are shots of the internet crazy Howard Bill’s news station and Lyttelton’s huge working restaurant. Enter the museum’s own restaurant. It has tiered seating, which is pretty cool. Angular lines and installation lights designed by Olafur Eliasson. This is a world imagined by Van Hove and Firth Weiveld.
