Edited By Paola Gilardi
Jossi Wieler ist einer der prägendsten Schauspiel- und Opernregisseure im deutschsprachigen Raum. Kreation im Dialog und tiefgründige Erkundungen eines Stoffs auf seine gesellschaftspolitische Relevanz für die Gegenwart zeichnen sein Schaffen aus. Mehrstimmig gibt der vorliegende Band Einblick in seine Arbeitsweisen, die wechselseitige Inspiration im Probenprozess und die Ethik seiner Ästhetik.
Jossi Wieler est l’un des metteurs en scène de théâtre et d’opéra les plus influents de l’espace germanophone. Son art repose sur la création en dialogue et sur une exploration des pièces et partitions à la recherche de leur pertinence pour le monde d’aujourd’hui. A plusieurs voix, cet ouvrage met en lumière sa démarche, l’inspiration mutuelle dans le processus de répétition, et l’éthique de son esthétique.
Jossi Wieler è uno dei registi teatrali e d’opera più apprezzati nel mondo germanofono. La creazione in dialogo e lo scavo nelle pièce e partiture al fine di estrapolarne la rilevanza per il presente caratterizzano il suo lavoro. A più voci, questo volume mette in luce il suo approccio, l’importanza dell’ispirazione reciproca nel processo creativo, e l’etica della sua estetica.
As one of the defining theatre and opera directors in the German-speaking world, Jossi Wieler has developed his signature style by creating ideas through dialogue and dissecting works for their socio-political relevance for present-day audiences. In this volume, a range of voices shed light on his working methods, the significance of reciprocal inspiration in the creative process and the ethics of his aesthetic.
The Magic Square of Opera
With reference to Goethe and Spinoza, Lion Feuchtwanger wrote: “the difference between Jewish and non-Jewish intellectuality has manifested itself in an exemplary way […]”:
Goethe drew a clear, convenient line between his knowledge of what is right and wrong and his lifestyle. …] Goethe the writer always acted with a conscience, but Goethe as a human being very often did not. Spinoza lived differently. For him, this knowledge did not simply remain knowledge, he lived in accordance with what he knew to be right. […] He appreciated what a comfortable life entails, but he never betrayed even a fraction of his knowledge for it […].1
I think I understand what Feuchtwanger means because I know Jossi Wieler: a person who allows for no division between ethos and actions. A division that so many theatre-makers make. They believe they can protect themselves from the impertinences of the industry by becoming one themselves. The contradiction between critical-minoritarian self-image and authoritarian behaviour is accepted as part of the job. Although many opera productions appear to celebrate human insight and empathy, these qualities are beyond the reach of an authoritarian. What remains is mostly artistic simulation. To those willing to look closely, the lack of freedom behind the façade is clearly perceptible. ←250 | 251→For these qualities to develop to any substantial extent, a different ethos in theatre work is required. This can only be achieved by renouncing the narrow “one-way” form of communication in which a director refuses to leave the...
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