Once again, and they are already several this season, a loaded question of bias is repeated when leaving a performance at the Royal Theatre, but, this is opera?. evidently, no. However, It is almost impossible not to notice the similarities amount of weight a work as "Life and Death of Marina Abramovic"He has works of the classical repertoire. scenography, los tableaux, the comedy, the tragedy, the emotion, the first woman, even the final death of the protagonist.
Never a show, supposedly operístico, He had aroused such excitement in the recent history of the Teatro Real. It might have been more successful than outside this production, not C(h)oeurs, which I had been out of fertilizer. Even so, I could have not respond to requests for tickets. Such was the expectation.
In the room you can not access up to ten minutes before the start of the show but entering, you realize that it has already begun. While the public, somewhat baffled by the wait and the gloom of the room, trying to locate their seats, three doberman prowling the stage about three caskets occupied by Marina Abramovic.
This moment of stillness that takes about fifteen minutes is, According to her own funny comment Marina Abramovic news conference, the moment that has cost you the most. “I have had to develop a lot of patience. I have spent so many hours rehearsing this moment that, when i really die, I will think it is an essay”.
The lights and scenery are, as usual in the work of Robert Wilson, very aesthetically cared, and of almost infinite delicacy. A sublime lighting created an atmosphere full of intensity and magnetism in which it fitted, with great precision, the projections, static sounds and movements with which the actors unfolded on stage, as if it were a symbolist work. Wilson joins with great consistency and elegance different styles and materials with which it works.
The initial moments are accompanied by a serious and continuous sound that is becoming more intense. At that time I begin to hear the shocking voice Svletana Spajic. The severity and melancholy of these traditional voices, Servia charged with the difficult history, help set the character perfectly. Each element that adds up to the scene, either voice, light, sound, image or word, add drama and intensity. There is no moment of rest. There is only one in the first part that seems to be eternal. But all is expectation to which it contributes, dramatically, expressiveness, mastery and humility with which willen Dafoe acts as master of ceremonies. Sometimes as narrator, other protagonist, other, simply, as a soldier, but always as an essential element. As they have to learn Spanish actors, especially humility.
Within a play as emotional as this, the items are printed more depth voices. Very successful performance of the German countertenor Christopher Nell.
The musicians, led by Doug Eieselman, They make a variety of different worlds that overlap each other in a magical way. Pálpito sounded like background projections that appeared on some of the performances of Marina Abramovic.
Another of the winners of the night was Anthony. Marina Abramovic account the first time you heard him singing could not help crying with emotion that caused him. Anthony often appears on stage that is most like to have seen the expectation that raises a diva before starting the most important and expected aria night. His themes are melodically simple, but the way they interpret, his voice, Hypnotic and suggestive, very personal and full of intimacy and strength, left awestruck to the public, hypnotized, It took a moment to react. always appeared in the most serious moments in history accompanied only by piano and always to sweeten, to put the counterpoint to the tragedy. A voice calm and elevates the words to the dimension of dreams.
In the end, the protagonist is apparent in the background. The show is not a performance by Marina Abramovic, it is not even the object of study. It is the subject of study, or better yet, The pretext. She lost prominence in favor of developers and story tellers. There is the merit of Marina Abramovic, They are having gathered around it a group of great biographers.
The Life and Death of Marina Abramovic
Teatro Real, Madrid, 19-4-2012
Custom and production of the Teatro Real
A creation of Robert Wilson, Marina Abramovic and Anthony
Willem Dafoe, William Basinski, Svetlana Spajic, Jacques Reynaud, A. J. Weissbard, Ann-Christin Rommen, Wolfgang Wiens, Nick Sagar,
Joey Cheng, Thomas Jeziorski, dan Bora, Ivan Civic, Amanda Coogan, Andrew Gilchrist, each Luyten, Christopher Nell, Kira O'Reilly,
Anthony Rizzi, Carlos Soto, Svetlana Spajic Group, Doug Wieselman, Gael Rakotondrade, Matmos, Oren Bloedow