DThe hat cannot be anything else. It must be a feeling.After the performance of “Salome” Richard Strauss Three years ago, Italian director Romeo Castellucci (Romeo Castellucci) was celebrated in Salzburg as a light and shadow figure in the Magical Myth Theatre. In Mozart’s Don Juan, he was designated as the only imaginable partner because he was an overwhelming advantage at a fixed price: commanding Teodor Currentzis, who was shocked Opera business is admired. Therefore, the media weather report reported early that “the possibility of excitement is in the air”; a few hours after the performance, Bayerischer Rundfunk commented that the conductor had completed his duties: Mozart – well, what? “Swipe against the grain.”
When the conductor walked to the podium, the Festspielhaus was black and dark, and the huge stage area was brightly lit behind the milky white veil. It is the sacred space of the church. A dozen benches were rolled out, and it took seven or eight minutes. A picture of Christ was taken down. A billy goat crossed the room. From then on, the room became a battlefield for a “manic kid” (Castrucci about Giovanni), who he “slammed” in the next few hours. . Giovanni and Leporello entered the scene as clones. We learned the meaning of servants as “fecal nature” from the instructions in the procedure manual. Change yourself His master is.
When Donna Anna from Don Juan Was overwhelmed-not raped because she tried to catch him. This is reflected in repeated scenes. What Anna reported to her fiancé Ottavio in Accompagnato (No. 2) was visualized by the double on the mattress. There is also such a bed. Giovanni and Zelena sank together on the bed. When her seductiveness is attracted by the lewd and lewd turn of a naked double body lying behind her, he is out of her dream. The expected expectation becomes obvious.
It works Richard Wagner Formation, with or without cause. Castellucci’s stage effects are richer than Leporello’s record of erotic conquest. The director is also responsible for the stage, costumes and lighting. He hopes to give meaning to the neutral architecture of his space: “through the precise dramatization of suitable and inappropriate objects falling, appearing and dissipating”. The ball falling from the sky fell to the ground and was stabbed by Otavio; a piano fell and Giovanni clinked; a car crashed onto the stage floor; in an erotic duel between Giovanni and Zelena , A carriage descended, preparing for a trip to their imaginary castle; Leporello took out a photocopier in his registration aria, probably to give his master a code for continuous use.
Authentic Salzburg Women’s Collective
In the second act, 150 Salzburg women as victims of anti-heroes are on the stage is a great sight: young and old, plump in winter, slim in summer, performed by Leporello, they are carefully choreographed And the magical lights advance on the stage. In the final scene, the stone guest appeared alone with a loud speaker. In front of him, Giovanni twitched and twisted his body in despair, smearing white paint on his naked body, turning into a skeleton. However, what is produced by the accumulation of movements with the talent of a superb performer becomes a monotony that may exhaust the audience.
