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The Life and Death of Marina Abramoviæ

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The Life and Death of Marina Abramoviæ THE LIFE AND DEATH OF MARINA ABRAMOVIÆ robert wilson, marina abramović, antony, willem dafoe INFO CREDITS performers productieteam / production team Marina Abramović, Ivan Civic, Amanda Sam Collins, productieleiding production Coogan, Willem Dafoe, Andrew Gilchrist, manager, Gemma Tonge, zakelijke leiding data / dates regie, toneelbeeld, lichtconcept / Antony, Elke Luyten, Christopher Nell, company manager, Jane Rosenbaum, toneel- do 21 (generale repetitie) direction, set design, lighting concept Kira O’Reilly, Antony Rizzi, Carlos Soto, meester van het gezelschap company stage vr 22, za 23, zo 24* juni 2012 Robert Wilson Svetlana Spajić. manager, Ros Chapelle adjunct toneelmees- Thu 21 (dress rehearsal) co-creatie / co-creation Svetlana Spajić Group (Minja Nikolić, ter deputy stage manager, Louise Martin Fri 22, Sat 23, Sun 24* June 2012 Marina Abramović Zorana Bantić, Dragana Tomić) adjunct toneelmeester deputy stage manager, locatie / venue muzikale leiding, componist, musici / musicians Sarah Coates, assistent toneelmeester Koninklijk Theater Carré liedteksten / musical director, composer Doug Wieselman, gitaar, klarinet, percussie assistant stage manager, Lynsey Peisinger, aanvang / starting time & lyricist guitar, clarinet, percussion souffleurprompt , Shanti Freed, supervisie 20.00 u, *15.00 u Antony Gael Rakotondrabe, piano, repetitor, kostuums costume supervisor, Jon Clarence, 8 pm, *3 pm componist / composer percussie piano, repetiteur, percussion geluidstechnicus sound operator, Amy duur / running time William Basinski Matmos, elektronica, percussie electronics, Spencer, geluid nr. 2 sound no 2, Wee 2 uur 30 minuten, inclusief een pauze componist, liedteksten / composer & percussion Cheng Low, programmeur licht lighting 2 hour 30 minutes, including one interval lyricist Oren Bloedow, gitaar, basgitaar guitar, bass programmer, Marcello Lumaca, hoofd LX taal / language Svetlana Spajić in opdracht van / commissioned by chief LX, Danny Hones, hoofd toneel chief Engels met Nederlandse boventiteling kostuums / costumes Manchester International Festival and of stage, Richard Schnider, videotechnicus English with Dutch surtitles Jacques Reynaud Teatro Real, Madrid video technician, Shaun MacDonald, inleiding / introduction lichtontwerp / lighting design met with Theater Basel, Art Basel, Hol- persoonlijke assistent van Antony 19.15 u, zo 24.6 14.15 u AJ Weissbard land Festival, Salford City Council en and administrator to Antony 7.15 pm, Sun 24.6 2.15 pm co-regie / associate director deSingel Fabien Zurmeyer, assistent Robert Wilson Meet the artist Ann-Christin Rommen met steun van / with support by assistant to Robert Wilson za 23.6, na de voorstelling dramaturgie / dramaturg The Metabolic Studio Manchester International Festival Sat 23.6 after the performance Wolfgang Wiens wereldpremière / world premiere Alex Poots, festivaldirecteur & uitvoerend websites geluidsontwerp / sound design The Lowry, Manchester, 9.7.2011 producent festival director & executive www.mif.co.uk Nick Sagar producer, Christine Cort, adjunct directeur www.robertwilson.com make-up / make up design associate director, Jim Forrester, interim www.antonyandthejohnsons.com Joey Cheng uitvoerend directeur interim executive video-ontwerp / video design director, Tracey Low, -senior producent Tomasz Jeziorski senior producer, Jack Thompson, technisch supervisie muziek & muziekmix / directeur technical director, Katie Vine, music supervision & music mix tourmanager touring manager, Cathy Dan Bora Gallagher, marketingmanager marketing assistent toneelbeeld / set design director, Nadja Coyne, pers en pr manager assistant press and pr director Annick Lavallée-Benny assistent kostuums / costume design Love and dedication to Wolfgang assistant Wiens for structuring and shaping Julia von Leliwa The Life and Death of Marina Abramovic´. regieassistent / assistant director We will always be grateful. 1941 – 2012 Thomas Hescott 2 3 PROLOOG – pauze– Begrafenis P ozdrav Marini Abramović INTERMEZZO IV Een man ontmoeten (1975 – 1988) INTERMEZZO I Leuke frames (1946 – 1966) B1 Your Story, My Way De Grote Muur Empathy A1 Het Verhaal van de Wasmachine B2 Leugens, Leugens, Leugens (1989 – 2010) INTERMEZZO II C er planina i Hercegovina De Asbak (1967 – 1974) Cut the World Your Story, My Way (reprise) Salt in my Wounds A2 B3 Het Verhaal van de Grote Neus Het Kleine Huis Willem’s Song INTERMEZZO III Moeders Lijst INTERMEZZO V Dodende Ratten A3 Het Verhaal van de Schoenpoets EPILOOG I am Seething / Dream Crusher Begrafenis B jela golubica / Volcano of Snow A4 Het Verhaal van het Ziekenhuis Snowy Angel A5 Het Verhaal over haar Moeder en Vader Saints Ascend A6 Spiritueel Koken A7 Het Verhaal van de Russische Roulette Watch Me A8 De Groene Appelboom Oj jabuko zeleniko / The Cut 4 5 LUISTER NAAR melk inschonk voordat ze kalm haar twee DE BEELDEN kinderen doodstak. Het werd gevolgd door een 24 uur lange stille ouverture voor een voorstelling die gedurende zeven dagen Door John O’Mahony onafgebroken werd opgevoerd tijdens het kunstfestival van Shiraz-Persepolis (Iran). Robert Wilson is wereldwijd een van de Einstein on the Beach, een vijf uur durende meest vernieuwende en toonaangevende opera in vrije vorm gemaakt met compo- theaterregisseurs. Door zijn criticasters neer- nist Philip Glass in 1976, was een specta- gezet als een charlatan en door zijn fans be- culaire collage van beelden, onder meer een jubeld om zijn visionaire ideeën heeft Wilson levensgrote rook spuwende locomotief en niet alleen een theaterstijl gecreëerd, maar een gigantisch ruimteschip dat esoterische een geheel nieuwe beeldentaal voor het symbolen flitste op de maat van de muzika- toneel. Zijn oeuvre, gemaakt tijdens meer le herhalingen van Glass. dan veertig immens productieve en fantas- Meer recent is Wilson zich ook gaan bezig- tische jaren, is het sterkste en dwingendste houden met wat conventionelere opera theatrale argument ooit tegen de tot sterven en theater, zoals zijn versie van Wagners gedoemde, woordgebonden tirannie van Lohengrin, waarin tijdens de hele voorstel- het naturalisme. ‘Ik heb sinds ik geboren lingen witte lichtstralen werden geprojec- ben nooit iets mooiers gezien in de wereld,’ teerd op het achterdoek. Ik had destijds in schreef Louis Aragon in een ‘open brief’ 1991 als jonge journalist het genoegen de aan collega surrealistisch schrijver André repetities te mogen bijwonen, en net als bij Breton nadat hij in 1970 Wilsons Deafman mijn vele latere ontmoetingen met de regis- Glance had gezien. ‘Het is wat wij, uit wie seur was ik toen al verbaasd over hoe de het surrealisme geboren werd, droomden ideeën en toneelbeelden in de schetsboe- dat er na ons zou gebeuren, dat ons zou ken die nooit van zijn zijde weken spontaan overstijgen.’ leken te ontspringen aan zijn verbeelding – volledig gevormd en wel. Wilson is eigenlijk een schilder die in het Maar welk ruw materiaal hij ook onder han- theater werkt. Zijn eerste werk was het den heeft, Wilson blijft het publiek uitda- groot opgezette The King Of Spain in 1969, gen om op een heel andere manier naar the- een stil en uiterst langzaam voortgaand ater te kijken. ‘Ga zoals je naar een museum stuk met opvallende beelden, zoals een stel zou gaan, zoals je naar een schilderij zou reusachtige bontbenen die het toneel over- kijken,’ adviseert Wilson zelf zijn toeschou- staken, alsof er een enorme kat door de wers. ‘Je geniet gewoon van de enscenering, toneelzolders liep. van de architecturale ordening, de muziek, Deafman Glance was een zeven uur durend de emoties die dat allemaal oproept. Luister ‘droomlandschap’, kalm geobserveerd door naar de beelden.’ een dove jongen hoog boven het toneel. De meest gedenkwaardige momenten daarvan John O’Mahony is criticus bij de Britse waren de twintig minuten van de verschrik- krant The Guardian en programmamaker. kelijke proloog, waarin een vrouw in een Victoriaanse japon heel langzaam een glas 6 7 BIOGRAFIE ALS Iedere keer dat ik een biografie maak, begin MATERIAAL ik met hetzelfde principe: de controle hele- maal opgeven. Door het materiaal dus uit handen te geven aan de regisseur kan hij in Door Marina Abramović zekere zin een remix maken van mijn leven. Dat kan chronologisch of niet – dat doet er Dit is een heel ander type voorstelling dan niet toe. Ik ben materiaal, verder niets. Ik Marina Abramović Presents.... Dat was podi- heb geen input, maar wat er altijd gebeurt is umkunst, maar The Life and Death of Marina dat mijn leven me nieuw voorkomt. Abramović is een stuk poëtisch biografisch Ik kan niet zeggen hoe bevrijdend dat is. theater. En ik doe die biografieën ontzettend Toen ik Bob voor het eerst ontmoette, zei graag – sinds 1989 heb ik er zes gemaakt. hij dat hij wilde dat ik mijn moeder zou spe- len, en ik heb een enorm probleem met mijn De eerste kwam tijdens een echt moeilijke moeder, echt een haat-liefdeverhouding. periode in mijn leven, toen ik niet wist welke Maar hij had daar iets gezien en hij wilde dat kant het op ging met mijn werk. Ik pakte onderzoeken, ook al hield dat in dat ik sinds de theatervorm op om mijzelf los te maken we in Manchester aankwamen heb gehuild. van de pijn, denk ik. Ik vond het proces zijn. Maar voor mij is het nog steeds heel haar biografie uitgelegd op een ronde tafel. zo interessant dat ik er elke vijf of zes jaar Deze biografie is anders omdat alle vorige persoonlijk, en dat is de reden dat ik The Life Daar verkenden we voor het eerst grondig naar terugkeer en steeds een andere regis- regisseurs zich hebben geconcentreerd op and Death of Marina Abramović wil
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