‘It’s Not a Dying Art Form, Only a Changing One’: Marina Abramović on the Transformative Power of Opera, Marina Abramović, δημοσίευση Artnet News [16/1/2023]Marilena Pateraki
Opera is a very old form of art. It has been developed throughout the centuries. It has its own language and rules and a very particular and enthusiastic public. But now we are in the 21st century, and it’s time to change the rules and dismantle the structure and blow some fresh air into opera. In this way, we can succeed in creating a complete work of art.
In 2018 in Antwerp, I developed the concept and stage design for Claude Debussy’s Pelléas et Mélisande. It was the first time I had worked in opera and was a very inspiring moment for me. I worked on a ballet based on Ravel’s 15-minute suite Boléro together with the choreographers Sidi Larbi Cherkaoui and Damien Jalet. Compared to Debussy’s opera, the work has a rigid form and is consequently much
more difficult to penetrate. Debussy left a lot of space open for interpretation in his opera, which is essential for visual artists because this space leaves them room and freedom of imagination.
For Pelléas, my décor involved the use of large crystals; these, together with the video by Marco Brambilla, brought out the metaphysical aspect of the drama and made the invisible power of music more visible. We don’t know from where Mélisande comes; Golaud discovers her in the forest. Could she be an alien from another planet? The crystals could also be interpreted as the spaceships that brought her to us. Is she human? Is her love true? Does she die for love? All these questions are directed toward the public, and they need to find their own answers.
Η συνέχεια εδώ.