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Ivan Repusic appointed General Music Director of the Leipzig Opera - Pizzicato

Ivan Repusic appointed General Music Director of the Leipzig Opera - Pizzicato
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Pupils in for a scare as chilling opera comes to Lanarkshire schools

Pupils in for a scare as chilling opera comes to Lanarkshire schools
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HARDtalk

that through this rather stupid process, this dumb process of drawing, of cutting, of tearing, a meaning will emerge, and that at the end the work will not be without meaning and will have a sense. i think the studio has to be a very safe space for uncertainty, for doubt and for stupidity. but when you work as an opera director, you've directed operas, most recently at the met and so on, that's a very different kind of discipline for you, isn't it? because you're already working with a known body of work? for every opera there has to be a theme, opera i'm interested in — the instability of objects of desire in lulu, the premonition of the first world war in wozzeck, the terror of hierarchy in the nose. these are larger things... but the primary activity of making the opera are the months in the studio here doing the drawings and preparing the projections and finding the language.

Work , Drawing , Sense , Process , Studio , Meaning , The-end , Cutting , Tearing , It , Kind , Isn-t

HARDtalk

here we are talking about how the situation in south africa, apartheid, how the holocaust has influenced your work, but you have said, "i am only an artist. myjob is to make drawings, not to make sense." surely your art does make sense? your art can make sense but it makes sense from the position that it does not have to, it does not start with saying, "this is the essay." so many art schools and things, they first write the essay about what the meaning is and then find out how to express it and then execute and then itjust becomes an illustration of the idea. if you have confidence in the work and confidence in all the layers of thinking and knowledge and experience you have, you have to believe that through this rather stupid process, this dumb process of drawing, of cutting, of tearing, a meaning will emerge, and that at the end the work will not be without meaning and will have a sense. i think the studio has to be a very safe space for uncertainty, for doubt and for stupidity. but when you work as an opera

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HARDtalk

you have, you have to believe that through this rather stupid process, this dumb process of drawing, of cutting, of tearing, a meaning will emerge, and that at the end the work will not be without meaning and will have a sense. i think the studio has to be a very safe space for uncertainty, for doubt and for stupidity. but when you work as an opera director, you've directed operas, most recently at the met and so on, that's a very different kind of discipline for you, isn't it? because you're already working with a known body of work? for every opera there has to be a theme, opera i'm interested in — the instability of objects of desire in lulu, the premonition of the first world war in wozzeck, the terror of hierarchy in the nose. these are larger things... but the primary activity of making the opera are the months in the studio here doing the drawings and preparing the projections and finding the language.

Work , Drawing , Sense , Process , Meaning , The-end , Cutting , Tearing , Studio , Kind , Uncertainty , Operas

HARDtalk

but when you work as an opera director, you've directed operas, most recently at the met and so on, that's a very different kind of discipline for you, isn't it? because you're already working with a known body of work? for every opera there has to be a theme, opera i'm interested in — the instability of objects of desire in lulu, the premonition of the first world war in wozzeck, the terror of hierarchy in the nose. these are larger things... but the primary activity of making the opera are the months in the studio here doing the drawings and preparing the projections and finding the language. once you actually get into rehearsal, yes, you have the specific libretto and the specific music, and that is a constraint, but the... and it's also a pleasure. i mean, there's nothing nicer than being in the rehearsal room with these astonishing voices close—up singing that music. and a central theme in your work is to follow the less good

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刘子微：京剧艺术创新的弄潮儿-中新网

刘子微：京剧艺术创新的弄潮儿-中新网
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