The characteristic of a masterpiece like Richard Strauss'
Elektra
is to open the way to an infinite palette of interpretations.
In Aix-en-Provence, Patrice Chéreau had made this monument of psychological violence a theater of the body, daring to show sensitivity and sensuality on edge.
The Grand Théâtre de Genève offers an opposite vision, yet as relevant as it is acceptable.
The German theater director Ulrich Rasche sees in it an icy and hieratic expression of tragedy as a dehumanizing mechanism.
As usual, he builds a considerable device, with two concentric circles surmounted by a tower, in permanent rotation, right side up or upside down depending on whether the characters are advancing towards the future or taking refuge in the past.
Technical prowess without the slightest noise!
Read also
An
Elektra
all in psychology
Encased in black jumpsuits, the characters walk without stopping, turning in circles in a psychic confinement that Strauss and the poet Hofmannsthal have placed on the side…
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