Das Stereoskop der Einsamkeiten

Musik|Theater|Installation


dates & venues

Das Stereoskop der Einzelgänger
Musik|Theater|Installation

World premiere
Festival Reims Scènes d‘Europe
18 February 2015, 7 pm | 19 February 2015, 8 pm
Le Manège de Reims (Scène National)

re-creation
Festival Les Musiques 2016
14 May 2016 | 15 May 2016
Le Théâtre National de Marseille La Criée

10 June 2016 | 11 June 2016
Ballhaus Ost Berlin

KunstFestSpiele Herrenhausen
6 May 2017 | 7 May 2017
Hannover Herrenhausen - Galerie

Ana Maria Rodriguez, Composition | Ingrid von Wantoch Rekowski, Direction | Fred Pommerehn, Stage and Light Design

Ana Maria Rodriguez, live-electronics/kemençe | Annapaola Leso, dance

KNM Berlin
Matthew Conley, trumpet | Theodor Flindell, violin | Kirstin Maria Pientka, viola | Cosima Gerhardt, violoncello

about

THE STEREOSCOPE OF THE LONELY BEINGS

MUSIC | THEATRE | INSTALLATION

This is the first time that Argentinian composer Ana Maria Rodriguez, together with Franco-German director Ingrid von Wantoch Rekowski and American set and light designer Fred Pommerehn, have turned their attention to the work and world of Argeninian-Italian writer Juan Rodolfo Wilcock.

The Stereoscope of the Lonely Beings is a collection of sixty-six short stories published in 1972. In his work, Wilcock presents seventy different lonely people, for example:  a couple who are cannibals; Gods who somehow ended up living in our everyday world; Nerds who cannot stand being in the sun; a scrawny centaur who paints still lifes; an out-of-work angel; and a mermaid, who is not in a pretty cave by the Mediterranean but rather lives in manure on the banks of a putrid river.

The characters have names like Corfu, Brasco, Fritty or Lorbio. They live on the edge, they are out of sync, and they stand up for themselves and their life choices with determination, bravery, madness and intelligence.

Wilcock’s universe is riddled with moments of everyday cruelty, and is constructed with a sharp eye for detail and a keen sense of humour. His world is fantastical, strange, even eccentric, as if the paintings of Hieronymus Bosch have been made into literature, and all the lines between what is human, animal and monster have been erased.

Ana Maria Rodriguez, Ingrid von Wantoch Rekowski and Fred Pommerehn interpret this troubling and disturbing world through music, theatre and installation. The audience are invited on a museum-like, musical journey through different spaces. The first space brings Wilcock’s universe to life in a photo-gallery with portraits of some of the figures who inhabit The Stereoscope of the Lonely. The second space houses a music installation telling the story of “Mor”, who was sent by his friends on a trip into orbit in space, with enough supplies to last forty years. When the audience then come into the main hall, they are greeted by the sight of a strange city, home to a weird and wonderful orchestra which is half-human, half-animal. There, the musicians will attempt the impossible: despite their isolation, their respective obsessions and hindrances, they continue their quest for the utopia of one common musical language.


Das Stereoskop der Einzelgänger
Musik|Theater|Installation

Die argentinische Komponistin Ana Maria Rodriguez, die belgische Regisseurin Ingrid von Wantoch Rekowski und der amerikanische Bühnenbildner/Lichtdesigner Fred Pommerehn setzen sich mit dem argentinisch-italienischen Autor Juan Rodolfo Wilcock auseinander.

“Das Stereoskop der Einzelgänger” ist eine 1972 erschienene Sammlung von sechsundsechzig Erzählungen Wilcocks, in denen er siebzig Einzelgänger portraitiert: kannibalische Liebespaare, im Alltag verunglückte Götter, die Sonne nicht ertragene Nerds, in den unendlichen Weltraum geschossene Probanden, arbeitslose Engel, endlos redende Alleinunterhalter oder Kranke, deren Blick in den Spiegel zum einzigen sozialen Kontakt wird. Sie heißen Corfu, Brasco, Fritty oder Lorbio und verteidigen um den Preis der Weltentfremdung obsessiv, mutig, verrückt und sensibel ihren Lebensentwurf.
Wilcocks Sprache, mit alltäglichen Grausamkeiten gespickt, ist gleichzeitig scharf konstruiert und humorvoll pointiert als auch phantastisch bizarr und exzentrisch eigensinnig. Er lässt die labyrinthische Welt eines Hyronimus Bosch der Literatur entstehen, in der Menschliches und Tierisches, Menschen und Monster ohne Grenzen verschwimmen.
Ana Maria Rodriguez, Ingrid von Wantoch Rekowski und Fred Pommerehn interpretieren diese verstörende, beunruhigende Welt mit Mitteln der Musik, des Theaters und der Installation – teils sukzessiv, teils simultan.
Sie konstruieren einen musealen und musikalischen Parcours, der das Publikum durch verschiedene Räume führt. Der erste Raum erschließt das Wilcocksche Universum als Fotogalerie, in der die Figuren ausgewählter Geschichten portraitiert werden. Der zweite Raum erzählt musikalisch-installativ die Geschichte von „Mör“, der von seinen Kameraden in den Weltraum auf eine parabolische Umlaufbahn mit Verpflegung für vierzig Jahre gesendet wird.
Einmal im Saal angekommen eröffnet sich dem Publikum der Blick auf eine seltsame Stadt, die ein wundersames Orchester – halb Mensch, halb Tier – beheimatet.
Dort versuchen die Musiker das Unmögliche: trotz Isolation, zunehmenden  persönlichen Obsessionen und Handicaps der Utopie einer gemeinsamen musikalischen Sprache zu folgen.


Le Stéréoscope des Solitaires
Musique|Théâtre|Installation

La compositrice argentine Ana Maria Rodriguez, la metteuse en scène franco-allemande Ingrid von Wantoch Rekowski et le scénographe et concepteur lumière américain Fred Pommerehn se penchent pour la première fois sur l’univers de l’auteur argentino-italien Juan Rodolfo Wilcock.

Le Stéréoscope des solitaires est un recueil de soixante-six nouvelles paru en 1972. Wilcock y brosse le portrait de soixante-dix solitaires : une couple cannibale, de dieux échoués dans la vie de tous les jours, des nerds ne supportant pas le soleil, un centaures faméliques qui peint des natures mortes, un anges au chômage, ou encore, une sirène, qui, au lieu d’habiter une jolie grotte du littoral méditerranéen, vit parmi les ordures, au bord d’un fleuve nauséabond. Ils s’appellent Corfu, Brasco, Fritty ou Lorbio. Marginaux et décalés, ils défendent leurs choix de vie avec acharnement, courage, folie et intelligence. Truffé de cruautés ordinaires, l’univers de Wilcock est construit avec autant de rigueur que d’humour. Il est fantastique, étrange, voire excentrique. Non sans rappeler celui de Jérôme Bosch, les frontières y sont brouillées entre humains, animaux et chimères.

Ana Maria Rodriguez, Ingrid von Wantoch Rekowski et Fred Pommerehn font vivre ce monde trouble et inquiétant à travers la musique, le théâtre et l’installation.
Au gré d’un parcours muséal et musical, le public est invité à découvrir différents espaces. Le premier est une galerie de photos : certains des personnages qui peuplent Le Stéréoscope des Solitaires ont été « mis en portrait » pour nous raconter comment ses « singularités insensés » habitent et réinventent notre environnement quotidien. Le deuxième est une installation sonore relatant l’histoire de Mör, que ses camarades envoient sur orbite spatiale, doté de vivres pour un séjour de quarante ans. Le troisième est un espace étrange que le public découvre dès son arrivée dans la salle. Il s’agit d’un labyrinthe dans lequel se loge un orchestre insolite, mi-humain mi-animal. Les musiciens y tentent l’impossible : bravant leur isolement, leurs obsessions et leurs handicaps respectifs, ils poursuivent l’utopie d’une langue musicale commune.

Artists

Ana Maria Rodriguez: Space – Poetry – Spontaneity
In her works, Ana Maria Rodriguez links the spontaneity of improvisation with fully composed scores. She interacts with the musicians as laptop player and takes part in the performances of her own works. At the same time, she also works with the acoustic and architectural conditions of the performance space when creating her compositions, installations and scenic works. Thematically, her latest pieces could be said to revolve around the relation between poetry and technology. This relationship does not only comprise the compositional use of words, poetry and literary sources, but also in a more abstract way the musical utilisation of technological means in order to create a richness of perspectives based on poetry. Heterogeneous time layers, diverse spaces, plots running contrary to logic as in poetry: Ana Maria Rodriguez is committed to expressing herself in a precise and sensuous way.

Ingrid von Wantoch Rekwoski : Body – Embodyment?
I am trying to go beyond the language of traditional musical theatre to invent new and unconventional theatrical forms, regardless of whether they are for a drama, an opera or a concert. My research is wholly dedicated to the dialogue between music and theatre and between theatre and painting. To me the possibilities appear endless.
Musical - Music is essential for me, whether it is entrusted to actors, singers or musicians. I am aiming for a form of expression that pours out of the music. Rather than illustrating music, I like imagining in counterpoint a specific body capable of entering into dialogue with it. The performers’
acting is not naturalistic, but is organised like a score, generating a new rhythmical, physical and harmonic theatricality. (Ingrid von Wantoch Rekowski)

Fred Pommerehn: sitespecific settings - dialog with the environment
His work is constructed primarily from found objects and common every day material. His main interests are, the effects of natural and artificial light and their interaction with the installation. His preference for site-specific settings allow access to the work in an informal even coincidental way.
His work has in many cases a direct relationship to the community in which he lives and works. He prefers to be in a close dialog with the environment around him and therefore has chosen often to work with other members of the society such as non artistic professionals, school children, young adults and persons in extreme situations such as political refugees, prisoners and persons with physical or mental disabilities.

Video


THE STEREOSCOPE OF SOLITARY BEING is a project by KNM Berlin in coproduction with Césaré, Centre national création musicale de Reims / Reims Scènes d‘Europe, Manège de Reims Scène nationale, gmem-CNCM-marseille and Lucilia Caesar. Supported by the Fédération Wallonie-Bruxelles and the Berlin Senate Cultural Affairs Department.

Ana Maria Rodriguez Ingrid von Wantoch-Rekowski Fred Pommerehn Annapaola Leso
Le Stéréoscope des solitaires Le Stéréoscope des solitaires Le Stéréoscope des solitaires Le Stéréoscope des solitaires Le Stéréoscope des solitaires Le Stéréoscope des solitaires Le Stéréoscope des solitaires Le Stéréoscope des solitaires Le Stéréoscope des solitaires Foto: Pierre Gondard Foto: Pierre Gondard Foto: Pierre Gondard