When Gustav Mahler wanted to stage
Salomé
by Strauss in Vienna in 1905, the imperial censor opposed it: subject too obscene.
Today, there is no longer any censorship, but there is an audience, quick to show up loudly if a production dots the i's.
This is what happened during the premiere of the new production of
Salomé
at the Opéra Bastille, when the director Lydia Steier came to greet.
Scandal almost prepared by the warning that the show can
"offend the sensibilities of an uninformed public."
All things considered, is a Salome that does not shock still a Salome?
The play has lost none of its disturbing force, which Lydia Steier exploits to the end.
No more disturbing turn-of-the-century decadence here, but a post-apocalyptic world with no way out, in a bunker where a society rotten to the core wallows in debauchery where sexual gratification comes through murderous violence.
Here are the corpses again, less aesthetically pleasing…
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