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  • Heiner Goebbels - Archive - Texts - Reviews
    clad austerity and existential despair Instead Goebbels utilises an immaculate and unashamed sense of European grandiosity to create a magnificent study of the daily grind that s light enough in tone to resemble the most delicately drawn of sitcom sketches rather than the staged concert in three tableaux it s somewhat dryly dressed up as Key to this is the presence of The Hilliard Ensemble whose formal delivery of Goebbels s musical settings of each text is offset by the dramatic context in which they are placed For Eliot s The Love Song of J Alfred Prufrock they become a grey quartet who silently and meticulously empty a drab suburban living room then as with a Two Ronnies routine sombrely fill it up again The interpretation of Blanchot s La Folie Du Jour is closer in tone to Tony Hancock as solitary men in rooms look out on a world soundtracked by barking dogs police sirens and birds in flight For them with their entire lives in a state of domestic torpor it s not the noise that matters but the silences between A brief interlude of Kafka s Der Ausflug Ins Gebirge moves into Last of the Summer Wine

    Original URL path: http://www.heinergoebbels.com/en/archive/texts/reviews/read/402 (2016-02-13)
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  • Heiner Goebbels - Archive - Texts - Reviews
    in three tableaux But this one I said yes to straight away I m sceptical towards conventional opera expression about the way they move and the way they sing with this classical intensity What I love about the Hilliard Ensemble is that their intensity somehow grows by an absence of what you normally expect Normally you expect people to open their mouths and scream but there is nothing like that with the Hilliard Because they specialise in medieval music they hardly open their mouths and have a very discreet appearance So I was very confident I could make something special with that sense of discretion even though I didn t know how it would end up With this starting point Goebbels developed I Went To The House But Did Not Enter over three rehearsal periods gradually utilising seemingly disparate texts which each look at notions of failure from a first person perspective T S Eliot s The Love Song of J Alfred Prufrock is the most familiar of these with Samuel Beckett s final work Worstward Ho adding a similarly rhythmic linguistic propulsion Least known of the three is The Madness of The Day by French writer Maurice Blanchot who first introduced Franz Kafka s work to France and whose work gives Goebbels s production its title A fourth text Franz Kafka s short story Excursion Into The Mountains is also in the mix Given the material one could be forgiven for expecting some bleak litany of despair In Goebbels s hands however one suspects it may be oddly life affirming These texts work well with this almost subversive discreetness of the Hilliard Goebbels points out All three texts have something in common in that they re all incredibly creative and important steps in the development of literature At the same time they re all about failure That could be quite a negative thing but I hope it s entertaining mesmerising and touching Philosophically I Went To The House But Did Not Enter looks closely at the naked I It is a reflection on how you can say the word I and how conscious you can be about yourself Goebbels says All the doubts about that question are beautifully developed by T S Eliot in The Love Song of J Alfred Prufrock which definitely doesn t work as a love song but which has the first line Let us go then you and I You have the feeling as it goes on that this guy will never be able to leave his flat Also with all of the texts you never really know who s speaking Is it yourself Is it an idea of yourself that s no longer there Every sentence you re promised something but at the end you end up with nothing Even then this promise keeps you going and is very seductive It gives you new ideas and inspirations which while the story deals with failure opens a space that is incredibly creative for the listener

    Original URL path: http://www.heinergoebbels.com/en/archive/texts/reviews/read/401 (2016-02-13)
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  • Heiner Goebbels - Archive - Texts - Reviews
    five pianos with no pianists a performance without performers featuring projections recordings and mysteriously moving instruments Which is exactly what makes his return to Edinburgh such a thrilling prospect the more so because the performance I Went to the House but Did Not Enter is a world premiere As ever the 56 year old is remaining tight lipped about the exact nature of the theatrical interventions in the three act show but interventions there will be I call it a staged concert because I don t want to raise too many expectations he says But I think the audience will be surprised a lot about the visuality of this whole project What you can say is that in all my shows all my collaborative projects with Klaus Grünberg stage design and lighting with whom I have worked for the last ten years visuality is very important The performance is a collaboration with the Hilliard Ensemble the British vocal chamber group renowned for its accomplishment in both early and new music The group countertenor David James baritone Gordon Jones and tenors Rogers Covey Crump and Steven Harrold is as likely to be found giving first airings to James MacMillan Arvo Pärt and Gavin Bryars as trying out a cappella renditions from the medieval repertoire No doubt it was their combination of versatility and willingness to explore that caught the imagination of Goebbels but what triggered his specific thinking about I Went to the House but Did Not Enter was their absence of ego Despite their vocal prowess they put their individual skills to the benefit of the group as a whole I was aware of the beautiful quality of this quartet and I was wondering what options we could develop with the wonderful capacities they have he says They have an intensity that comes not from a solo ego or a conventional idea of presence The intensity they evoke comes from them being a team of four They are not opera singers standing at the front of the stage screaming at the audience They can take themselves back There s a certain moment when it turns into a different quality They create a new multiple polyphonic body of voices This was the idea that led Goebbels to the texts that create the three acts or tableaux as he calls them of I Went to the House but Did Not Enter The show s title comes from The Madness of the Day a novel by enigmatic French writer and philosopher Maurice Blanchot In that work the reader can never be certain of the authorial voice a characteristic shared with the other two texts TS Eliot s The Love Song of J Alfred Prufrock and Samuel Beckett s Worstward Ho I was looking for texts which defined this role maybe rather a 20th century role in which the individual is not triumphing but rather fragmented insecure reduced in options says Goebbels The Love Song of J Alfred Prufrock is a wonderful early example

    Original URL path: http://www.heinergoebbels.com/en/archive/texts/reviews/read/540 (2016-02-13)
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  • Heiner Goebbels - Archive - Texts - Reviews
    dem zweiten Balkon ein flacher Stuhl von dem aus nichts als Himmel zu sehen ist Sommerwolken ziehende Flugzeuge quer schießende Schwalben Dazu eine bedrohlich dräuende Soundcollage Den winzigen Perspektivwechsel mit enormer Wirkung hat der Komponist und Regisseur Heiner Goebbels für den Stadterkundungsparcours X Wohnungen inszeniert Auf beiden Balkonen überrascht die Plastizität die ein Fenster Rahmen dem Angeschauten verleiht aber auch was das Betrachtete im Betrachter auslöst Beim reduzierten Himmelsblick lehnt

    Original URL path: http://www.heinergoebbels.com/en/archive/texts/reviews/read/437 (2016-02-13)
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  • Heiner Goebbels - Archive - Texts - Reviews
    Interviews Reviews Portraits Texts by HG Anthologies Previous page Schöne neue Gropiusstadt Dann geht es per Lift hoch in den 15 Stock und plötzlich Kunst Heiner Goebbels Installation postiert den Besucher vor zwei verschiedene Fensterausschnitte Zunächst im Stehen ein Blick von oben aufs gründurchsetzte Häusermeer Danach im Sitzen ist ein Stück Himmel ausgeschnitten sonnenblau mit Leuchtwolken Ein simpler Perspektivwechsel ein einfacher Rahmen Bilder von nahezu atemberaubender vom Wetterzufall mitgeschenkter Schönheit

    Original URL path: http://www.heinergoebbels.com/en/archive/texts/reviews/read/438 (2016-02-13)
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  • Heiner Goebbels - Archive - Texts - Reviews
    Mitnehmen All diese Neukölln Fragmente philosophisch auf den Punkt bringt Heiner Goebbels wunderbare Installation auf der Gropius Tour Der Regisseur spielt auf einen Raum des buddhistischen Tempels Genko An im japanischen Kyoto an wo zwei unterschiedliche Fenster ein quadratisches window of confusion und ein rundes window of enlightenment den Blick auf ein und denselben Garten freigeben In Goebbels Installation steht man nacheinander an zwei Balkonfenstern in der obersten Etage eines

    Original URL path: http://www.heinergoebbels.com/en/archive/texts/reviews/read/439 (2016-02-13)
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  • Heiner Goebbels - Archive - Texts - Reviews
    and detail like the literary equivalent of Caspar David Friedrich s canvases Stifter s writing is the starting point for Heiner Goebbels latest theatre piece in many ways his most extraordinary so far It is being presented in the cavernous space of P3 now part of the University of Westminster which was built in the 1960s to test materials for motorway construction and the Channel Tunnel That industrial background is very apt for Stifter s Dinge Stifter s Things Goebbels work seems to be about ecological catastrophe Stifter has been hailed as an early green prophet of doom and the way industrial processes encroach upon and despoil the natural world that the writer described so meticulously Goebbels describes it as a composition for five pianos with no pianists a performance without performers but it is also an installation of huge technological intricacy There are visual projections of paintings by Van Ruisdael and Uccello and pre recorded elements a typically eclectic Goebbels collection that includes readings from Stifter s novels songs from Papua New Guinea and South America and interviews with Claude Lévi Strauss and Malcolm X mixed with bass heavy rock riffs Most of all there is the set five

    Original URL path: http://www.heinergoebbels.com/en/archive/texts/reviews/read/593 (2016-02-13)
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  • Heiner Goebbels - Archive - Texts - Reviews
    commission by Art angel and Théâtre Vidy Lausanne unfolds a sequence of breathtaking imagination featuring five pianos stripped to their guts and suspended an idyllic German landscape a sulphurous lake and a plethora of technological marvels I read it as the engulfing of the human spirit by technology Quotations from Claude Lévi Strauss intimate a disenchanted view of man s potential while inanimate objects threaten to emulate and supersede human

    Original URL path: http://www.heinergoebbels.com/en/archive/texts/reviews/read/594 (2016-02-13)
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