DER FINDLING
„Eine phänomenale Inszenierung im Alten Dom – Linz darf sich glücklich schätzen!“ Kronen Zeitung
„Faszinierend! Fabelhaft!“ OÖNachrichten
„Beeindruckter Jubel für diesen Beitrag zum Bruckner-Jahr!“ Die Presse
„Ein klangmächtiges Musiktheater!“ APA
„Eindrücklich!“ Der Standard
Der Findling – Trailer
Es gibt nur noch zwei Termine! 17. & 18. Juni, Alter Dom Linz
Jonatan Salgado Romero
OPERA IN CHURCH
“The Erratic Boulder”: Deep into the heart of Anton Bruckner
“On Friday, the Old Cathedral in Linz became the stage for large, new musical theater for the first time: “The Findling” by Franz Hummel and Susan Oswell follows Anton Bruckner. Many departments of the Linz State Theater and the Bruckner Orchestra are involved. The premiere met an enthousiastic applause!
Figures embodying Bruckner’s various ages and stages of development wind their way through the evening’s twelve-stage events in splendid storytelling. You experience something imaginative: a wild river landscape, a bird-like dwarf creature; it could have come from the picture of Hieronymus Bosch. Or a sleigh loaded with organs and plans.
There is water from which healing comes, a starry sky, a tree, a boulder that also has a bit of the Venus of Willendorf in it. And a rose quartz. These dreamy set pieces are vehicles for getting closer to Bruckner. Yes, it is a thrilling ride into the depths of his mind, his desires, his fears, his creations, his heart.
The fact that this is successful is due to the interaction between all departments at the State Theater. Stage designer Margherita Palli placed a walkway in the middle of the church, with the audience sitting in the normal benches. There are performances from all sides – around 150 participants, orchestra and choir in the gallery. Luca Scarzella contributes impressive videos, Sasha Nikolaeva’s costumes remain in Bruckner’s time. The lighting direction by Johann Hofbauer and Ingo Kelp is magical.
Director Lukas Hemleb gives the stunned, enthusiastic audience a magnificent musical and viewing experience!
The church interior is acoustically difficult, but Martin Achrainer (X) as “Bruckner”, Gotho Griesmeier (S for soprano), Manuela Leonhartsberger (A), Matthäus Schmidlechner (T) and Dominik Nekel (B) shine in their nameless roles. You can feel how they feel comfortable in the sacred space and how their respective colors begin to blossom effortlessly.
The choir used as well as the children’s and youth choir, conducted by Elena Pierini, are powerful; The extra choir, conducted by David Alexander Barnad, is also there.
Of course, the sensational ensemble of the Bruckner Orchestra Linz under the direction of Markus Poschner is also essential to the great success. The composition contains beautiful solos for violin or cello, appropriate quotes from Bruckner’s work including alienations. The Bruckner organ is mastered by Bernhard Prammer, who has been able to call it “his house organ” for years. A lively Tanz-Linz ensemble – choreographed by Yuko Harada – implements the music excellently.
A great work (only a few performances!) and a phenomenal production in the Old Cathedral – Linz can count itself lucky!”
Johannes Sonnberger
𝐃𝐞𝐫 𝐅𝐢𝐧𝐝𝐥𝐢𝐧𝐠
URAUFFÜHRUNG AM 7. JUNI 2024 | ALTER DOM LINZ
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幻蘊迷宮 – L’illusion de Corneille
https://ysmaze.wixstudio.io/illusion
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國立臺灣藝術大學 NATIONAL TAIWAN UNIVERSITY OF ARTS
《Six Characters from A City of Sadness》
The six intruders on a theater set in Luigi Pirandello’s “Six characters in search of an author” are incomplete beings, locked in a tragedy with no way out, in search of recognition as whole beings, the search for an exit towards a livable reality. They subsist in a suspended space, deprived of a true identity. Their story is unfinished. They are the metaphor of the indescribable. If the directors of different eras have built their vision of the play by confronting it with the reality of their time, we are led to look at it from the angle of the news that concerns us. What can be said of the “Six characters…”, is it not valid for Taiwan too? Taiwan is a very real country that the international community does not want to recognize as such….
“A City of Sadness” by Hou Hsiao Hsien, shot in 1988 from a script by Chu Tien-Wen and Wu Nian-Zhen, is a major event in the recent history of Taiwanese cinema. He is the forerunner of a process of reflection that will lead Taiwan to democratization. For the first time, the heavy lead cover that weighed on Taiwanese culture during the years of martial law was carefully lifted and allowed to tell the story of an ordinary family caught in the grip of the violent political upheavals of its time.
Gradually, an idea took shape which is based on an imaginary link between the two materials, Pirandello’s play, and Hou Hsiao Hsien’s film script.
What if the six characters who come to introduce themselves in a theater rehearsal of Pirandello were characters from Hou Hsiao Hsien’s movie?
《悲情劇中人》
國立臺灣藝術大學的戲劇工作坊
在 路伊吉· 皮蘭德羅的《六個尋找作者的劇中人》這部作品中，出現佔領舞台的六個人物，是被關在一部無出處的悲劇中，他們想要尋找活生生地、真實的存在。他們在時間停止的空間裡存活著，且缺乏真實身份，他們的故事未完待續，他們是不可言喻的比喻，不同時代的導演自當有該時代對此戲劇不同的看法，我們也能以我們的時代來解讀此作品。我們對《六個尋找作者的劇中人》的解讀，是否也跟我們對台灣的解讀類似？台灣是不是一個不被多數國家外交承認的真實國家？
由朱天文與吳念真選編的對話劇本，由侯孝賢電影導演於1988年拍攝成的《悲情城市》是在台灣近期電影史上具有重大迴響的作品。他是引導台灣走向民主化的反思過程的先驅。 這是第一次，在戒嚴時期被壓在台灣文化上的鉛板，小心翼翼地揭開，讓他們講述一個普通家庭在那個時代的劇烈政治起伏中的故事。
於是，關於兩作品間的虛構連結之想法逐漸成形： 我們假設皮蘭德羅戲劇中，六位闖入排演的角色是侯孝賢電影中的人物。
《Six personnages à La cité des douleurs》
laboratoire de théâtre à la Taiwan National University of Arts
Les six intrus sur un plateau de théâtre dans les “Six personnages cen quête d’auteur” de Luigi Pirandello sont des êtres incomplets, enfermés dans une tragédie sans issue, en quête d’une reconnaissance en tant qu’êtres à part entier, à la recherche d’une sortie vers une réalité vivable. Ils subsistent dans un espace suspendu, privées d’une véritable identité. Leur histoire est inachevée. Ils sont la métaphore de l’inénarrable. Si les metteurs en scène de différentes époques ont bâti leur vision de la pièce en la confrontant à la réalité de leur époque, nous sommes amenés de la regarder sous l’angle de l’actualité qui nous concerne. Ce que l’on peut dire des “Six personnages…”, n’est-ce pas valable pour Taïwan aussi? Taïwan est un pays bien réel que la communauté internationale ne veut reconnaître en tant que tel….
“La cité des douleurs” de Hou Hsiao Hsien, tourné en 1988 sur un scénario de Chu Tien-Wen et Wu Nian-Zhen, est un évènement majeur dans l’histoire récente du cinéma Taïwanais. Il est précurseur d’un processus de réflexion qui conduira Taïwan à la démocratisation. Pour la première fois, la chape de plomb qui pesait sur la culture taïwanaise durant les années de loi martiale fut prudemment levée et permit de raconter le destin d’une famille ordinaire prise en étau par les violentes péripéties politiques de son époque.
Peu à peu, une idée a pris forme qui est basé sur un lien imaginaire entre les deux matériaux, la pièce de Pirandello, et le scénario du film de Hou Hsiao Hsien.
Et si les six personnages qui viennent s’introduire dans une répétition de théâtre de Pirandello étaient des personnages du film de Hou Hsiao Hsien?
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Lachesis
Kammeroper in einem Akt
Text von Hermann Schneider
Oper
Uraufführung 26.09.2021
Ingmar Beck
Inszenierung
Lukas Hemleb
Bühne
Margherita Palli
Kostüme
Sasha Nikolaeva
Video
Luca Scarzella
Bühnenbildmitarbeit
Marco Cristini
Dramaturgie
Katharina John
Besetzung
Michael Wagner
Potone, Kybernetikerin
Gotho Griesmeier
Chloris, Biologin
Christa Ratzenböck
On
Elías Morales Pérez
Phillip, ein Ermittler
Matthäus Schmidlechner Bruckner Orchester Linz
Prix de da Fondation Franco-Taïwanaise 台法文化獎 – Lukas Hemleb
Taiwan Info 
Le 23e prix de la Fondation culturelle franco-taiwanaise attribué à trois lauréats
Crédits photos (de g. à d.) : Centre Asie du Sud-Est ; Radio Taiwan International – Français ; China Times
Le prix 2018 de la Fondation culturelle franco-taiwanaise a été attribué à l’ethnologue française Josiane Cauquelin, à la traductrice taiwanaise Miao Yung-hua [繆詠華] et au metteur en scène allemand Lukas Hemleb, a annoncé le 18 octobre le ministère de la Culture, à Taipei. Ce prix est attribué conjointement par l’Académie des sciences morales et politiques de l’Institut de France et par le ministère de la Culture.
Josiane Cauquelin est chercheuse honoraire au Centre Asie du Sud-Est, le pôle majeur des études sur l’Asie du Sud-Est en France. Au sein de cette unité mixte de recherche de l’Ecole des hautes études en sciences sociales (EHESS), du Centre national de la recherche scientifique (CNRS) et de l’Institut national des langues et civilisations orientales (Inalco) fondée en 2006, elle poursuit notamment ses recherches sur les Puyuma, peuple autochtone austronésien installé dans le district de Taitung, à Taiwan. Depuis 1983, elle étudie la langue, les rites et la société des Puyuma, en particulier le groupe dit de Nanwang. Elle est l’auteur de nombreux articles scientifiques et d’ouvrages, dont un dictionnaire puyuma nanwang – anglais devenu un important outil d’enseignement de cette langue.
Productrice et présentatrice du programme L’Heure des musées sur Radio Taiwan International, Miao Yung-hua promeut les échanges culturels entre Taiwan et la France et l’Europe, en particulier via la traduction de livres et de sous-titres. Elle a traduit en mandarin une vingtaine d’ouvrages dont Vol de nuit d’Antoine de Saint-Exupéry et Au-revoir là-haut de Pierre Lemaitre.
Lukas Hemleb découvre le théâtre en Allemagne au début des années 80 et s’installe en France dans les années 90. Son travail tourne autour de poètes tels que Daniil Harms, Osip Mandelstam, Marina Tsvetaeva et Dante. Parmi les auteurs contemporains, il a mis en scène Daniel Danis, Gregory Motton, Copi, Pierre Charras et Laura Forti. Il a aussi abordé des classiques comme Shakespeare, Lessing et Feydeau. Il collabore avec des artistes taiwanais travaillant dans le domaine de la musique traditionnelle nanguan. Le spectacle La Déesse de la rivière Luo, créé en 2006 à Taipei et en tournée en France par la suite, a été repris à la Cité Interdite à Pékin en octobre 2008. En 2008 il a créé un opéra contemporain, du compositeur taiwanais Gordon Chin [金希文] au Théâtre national, à Taipei. En 2010, il a créé Feather, un opéra contemporain avec de la musique nanguan, avec l’artiste taiwanaise Wang Xinxin [王心心]. Il travaille actuellement à l’adaptation scénique de L’Homme aux yeux à facettes [複眼人], un roman de l’auteur taiwanais Wu Ming-yi [吳明益].
Rehearsals for
“Hazardous Games around Hearts and Arrows”,
Yi-Xin Taiwanese Opera Company
Taoyuan, Taiwan, September 2018
Date/Time: 1 Sep. 2018 (Sat.) 15:50-16:30
Venue: 2F Theater Hall, Hakka Music and Theater Center, Hakka Cultural Park
Language: In English (Post Talk)
Sign up: Online Registration (16 Jul. – 15 Aug.)
A huge garbage tsunami hits the eastern coast of Taiwan. Alice, played by Hsu Yen-Ling, is a Taiwanese academic who is haunted by the unresolved disappearance of her son and husband. She encounters and takes in Atilei, a lost indigenous boy who has drifted from an untouched island far away in the Pacific.
Based on Wu Ming-Yi’s novel The Man with the Compound Eyes, this play reflects Taiwan today, vulnerable and threatened.
As seen through a fly’s eye in which the view is split into numerous fragments, we discover bits and pieces of a world in despair, yet one that may be rescued by the compound intelligence of nature guiding us to an underlying sphere of harmony, fed by timeless myths where humans and animals are equals in their natural surroundings.
Illustration／Dawid Planeta
Lukas Hemleb／Director
It has been said that Lukas Hemleb “seems never to be where you expect him to be”. His works are characterized by research on various cultural backgrounds. Originally from Germany, he made his debut as a director in the mid-80s. Having spent time exploring experimental theater with artists in Central Africa, he established himself in France. His works have been performed in Spain, Canada and Switzerland. He has also directed theater in Russia and Italy.
In terms of opera his preferences range from Baroque to contemporary including a mainstream repertoire. He has been invited to perform in major opera houses in London, Lisbon, Madrid, Paris, Aix-en-Provence, Vienna and Geneva.
For more than a decade he has explored Taiwanese culture, collaborating with traditional and contemporary artists and musicians.
Photo by Aurélie Edeline
Hsu Yen-Ling／Actress
Yen-Ling is a Taiwanese actress who also works as a director and a scriptwriter. She is now full-time lecturer at the department of Theater Art, Chinese Culture University, and resident director of Shakespeare’s Wild Sisters Group.
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research January 2018
Hazardous Games around Hearts and Arrows 啾咪！愛咋
“‘Hazardous games around hearts and arrows’ is a stunning success as a comedy, the audience is laughing constantly, no doubt about this. But I think the powerful point about Lukas Hemleb’s direction is that he is not bulging out his particular view or interpretation – he goes, on the basis of the taiwanese opera tradition, his own opera director’s experience at hand, into many precise details, to strengthen the inner chemistry of the action, and to develop a vision that is always related to the heartfelt emotions of every character in the play. That means that you probably don’t see immediately many differences with taiwanese opera that you saw before, but, after a while, you discover that it’s inner making isn’t the same at all. I think that between Lukas and his way of directing there is an affinity with his master Luc Bondy: both have a very strong feeling for rhythm and details. That draws the spectators unconsciously into the dynamics of the play, to a point that they might think that there is no director at all. But in fact, the director is omnipresent, as if he had melted into the action.” 耿一偉 Keng Yi-Wei 台北藝術節 Taipei Arts Festival
Yi Shin Taiwanese Opera Troupe, Taiwan – Lukas Hemleb, Europe 臺灣｜一心戲劇團 歐洲｜盧卡斯．漢柏 Hazardous Games around Hearts and Arrows 啾咪！愛咋 When Taiwanese Opera meets a European Opera director for the first time. International artists unite for this light comedy in classic Seven-word song style. Hazardous Games around Hearts and Arrows is the first collaboration of Yi Shin Taiwanese Opera Troupe and a foreign director. Adapted from the work by the 18-century famous playwright Marivaux who liked to emphasize the characteristics of actors / actresses, the detailed emotions and mental analysis to dissect human nature with his own language, this artistic collaboration between director Lukas Hemleb and Yi Shin is surely to begin a new chapter for the Taiwanese operas. Category Newly created traditional drama Date 2017/09/15 (Fri) 19:30 2017/09/16 (Sat) 19:30 2017/09/17 (Sun) 14:30 Venue The Zhongzheng Auditorium, Taipei Zhongshan Hall http://www.taipeifestival.org/FilmContent.aspx?ID=8 http://eng.taipeifestival.org/FilmContent.aspx?ID=8
