Frljić / Mann / Đurović / Purcell
Death in Venice / Dido and Aeneas
The starting point for this project was the idea of two different performances happening at the same time in two separated spaces, but sharing the same cast. The choose of Thomas Mann’s well known Death in Venice and English Baroque opera Dido and Aeneas was the result of an attempt to create the framework in which the functionality of performer would be highly questioned through constant migrations from one performance to another and taking different roles in every one of them. The audience of every singular performance is fixed in its own space and, beside the information from the program, is not able to observe that there is another performance happening at the same time in different space. In that respect, performer becomes a privileged site for the experience of being here and there. Her/his actual presence in one performance becomes representation for her/his temporary absence from the other one.
On the other level, project was interested for structural interweaving and the relationship between the time in two performances. The opera with its exact, measurable duration becomes a kind of time-grid for Death in Venice. Something has to be performed in the certain period of time if the functionality of two performances is to be preserved. This condition has a further effects on the performative strategies used in both performances.
The project also aims to destabilize the role of theatre director as the one who is omnipresent and in charge to control and verify different representational layers. Simple physical inability to be in two different spaces at the same time is the first attempt towards this direction.
Death in Venice / Dido and Aeneas
The starting point for this project was the idea of two different performances happening at the same time in two separated spaces, but sharing the same cast. The choose of Thomas Mann’s well known Death in Venice and English Baroque opera Dido and Aeneas was the result of an attempt to create the framework in which the functionality of performer would be highly questioned through constant migrations from one performance to another and taking different roles in every one of them. The audience of every singular performance is fixed in its own space and, beside the information from the program, is not able to observe that there is another performance happening at the same time in different space. In that respect, performer becomes a privileged site for the experience of being here and there. Her/his actual presence in one performance becomes representation for her/his temporary absence from the other one.
On the other level, project was interested for structural interweaving and the relationship between the time in two performances. The opera with its exact, measurable duration becomes a kind of time-grid for Death in Venice. Something has to be performed in the certain period of time if the functionality of two performances is to be preserved. This condition has a further effects on the performative strategies used in both performances.
The project also aims to destabilize the role of theatre director as the one who is omnipresent and in charge to control and verify different representational layers. Simple physical inability to be in two different spaces at the same time is the first attempt towards this direction.
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