{"id":424,"date":"2017-12-03T13:14:01","date_gmt":"2017-12-03T12:14:01","guid":{"rendered":"http:\/\/localhost:8080\/Wordpress\/Schorsologie\/?page_id=424"},"modified":"2018-02-11T15:56:25","modified_gmt":"2018-02-11T14:56:25","slug":"dialogues-des-carmelites-oldenburgisches-staatstheater","status":"publish","type":"page","link":"https:\/\/www.joergbehr.de\/?page_id=424","title":{"rendered":"Francis Poulenc: DIALOGUES DES CARM\u00c9LITES &#8211; Oldenburgisches Staatstheater"},"content":{"rendered":"<style id=\"bwg-style-0\">  #bwg_container1_0 {    display: table;\t\/*visibility: hidden;*\/  }  #bwg_container1_0 * {\t  -moz-user-select: none;\t  -khtml-user-select: none;\t  -webkit-user-select: none;\t  -ms-user-select: none;\t  user-select: none;  }  #bwg_container1_0 #bwg_container2_0 .bwg_slideshow_image_wrap_0 {\t  background-color: #000000;\t  width: 800px;\t  height: 500px;  }  #bwg_container1_0 #bwg_container2_0 .bwg_slideshow_image_0 {\t  max-width: 800px;\t  max-height: 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      <div id=\"bwg_spider_popup_loading_0\" class=\"bwg_spider_popup_loading\"><\/div>        <div id=\"spider_popup_overlay_0\" class=\"spider_popup_overlay\" onclick=\"spider_destroypopup(1000)\"><\/div>        <input type=\"hidden\" id=\"bwg_random_seed_0\" value=\"1831702539\">                <\/div>    <\/div>    <script>      if (document.readyState === 'complete') {        if( typeof bwg_main_ready == 'function' ) {          if ( jQuery(\"#bwg_container1_0\").height() ) {            bwg_main_ready(jQuery(\"#bwg_container1_0\"));          }        }      } else {        document.addEventListener('DOMContentLoaded', function() {          if( typeof bwg_main_ready == 'function' ) {            if ( jQuery(\"#bwg_container1_0\").height() ) {             bwg_main_ready(jQuery(\"#bwg_container1_0\"));            }          }        });      }    <\/script>    \n<p style=\"padding-left: 30px;\">\u00a9 Fotos Andreas J. Etter<\/p>\n<blockquote class=\"wp-embedded-content\" data-secret=\"57dHEXnNr1\"><p><a href=\"https:\/\/www.joergbehr.de\/?page_id=678\">Besetzung DIALOGUES DES CARM\u00c9LITES<\/a><\/p><\/blockquote>\n<p><iframe loading=\"lazy\" class=\"wp-embedded-content\" sandbox=\"allow-scripts\" security=\"restricted\" style=\"position: absolute; clip: rect(1px, 1px, 1px, 1px);\" src=\"https:\/\/www.joergbehr.de\/?page_id=678&#038;embed=true#?secret=57dHEXnNr1\" data-secret=\"57dHEXnNr1\" width=\"600\" height=\"338\" title=\"&#8222;Besetzung DIALOGUES DES CARM\u00c9LITES&#8220; &#8212; J\u00f6rg Behr\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\"><\/iframe><\/p>\n<p>Pressestimmen:<\/p>\n<h4 style=\"padding-left: 30px;\"><span style=\"color: #000000;\">OPERNWELT, Juni 2007<\/span><\/h4>\n<h6 style=\"padding-left: 30px;\">\u201eEine Oper ohne Liebeshandlung? Ein Vertreter des Regietheaters wie J\u00f6rg Behr hat damit keine Probleme, er erfindet eine. Und zwar eine inzestu\u00f6se zwischen der jungen Blanche und ihrem Vater, dem Marquis de la Force. (\u2026) Die damit einhergehende Profanisierung bringt dem St\u00fcck einigen Gewinn: Der Regisseur verlegt l\u00e4sst es ins Hier und Jetzt (\u2026). Die Nonnen erscheinen als Wahn- und Projektionsgestalten, in die Blanche, von Lebensangst verfolgt, ihre W\u00fcnsche und Sehns\u00fcchte legt. Von der [im Text] erw\u00e4hnten Nonnentracht ist auf der Oldenburger B\u00fchne wenig zu sehen. Aber das st\u00f6rt den Regisseur wenig (\u2026), wenn er eindringliche Bilder erfinden kann, wie zum Beispiel das neu gesehene Ende der Oper: Alle, auch die Peiniger und darunter der Vater, sind tot zusammen- gebrochen: Blanche, die \u00bbLetzte am Schafott\u00ab bleibt als Einzige am Leben. Die Angst, so scheint es, ist besiegt. Um welchen Preis allerdings und ob es Hoffnung gibt f\u00fcr ein Weiterleben, das l\u00e4sst die Inszenierung offen.\u201c<\/h6>\n<h6 style=\"padding-left: 30px;\"><span style=\"color: #000000;\"><em>\u201eIm Sanatorium\u201c<\/em> von Gerhard Asche.<\/span><\/h6>\n<h4 style=\"padding-left: 30px;\"><span style=\"color: #000000;\">ORPHEUS 6+7\/2007<\/span><\/h4>\n<h6 style=\"padding-left: 30px;\">\u201e(\u2026) Blanche ist hier ein schwer traumatisiertes, von \u00c4ngsten getriebenes junges M\u00e4dchen, das von seinem Vater missbraucht wird. Behr zieht [dieses Inszenierungsmotiv] bis zum \u00fcberraschenden Schluss immerhin konsequent durch: Wenn am Ende der Hinrichtungsreigen bei ihr angekommen ist (ihr Vater ist der Henker), sinkt nicht sie zu Boden, sondern die ganze Spukwelt ihrer Wahnvorstellungen. Blanche bleibt allein stehen, nun wohl erl\u00f6st von ihrem Trauma. Die gesamte Handlung spielt sich in der Vorstellung der gem\u00fctskranken Blanche ab, die st\u00e4ndig von einer Krankenschwester (eigentlich M\u00e8re Marie) betreut wird. Schauplatz ist ein modernes Wohnzimmer (B\u00fchne: Marc Weeger), die strenge Klosteratmosph\u00e4re bleibt weitgehend ausgespart. Die \u00c4ngste und N\u00f6te Blanches hat Behr sinnf\u00e4llig herausgearbeitet, da sind bedrohliche Schatten, die sie in Panik versetzen, da erlebt sie den Tod der Priorin als Tod der eigenen Mutter und auch die Gegenwart ihres Bruders, der ihr nicht helfen kann oder will ruft bei ihr eher Unbehagen hervor. Anja Metzger sang und spielte die Blanche sehr \u00fcberzeugend. Ihre knabenhafte, androgyne Figur unterstrich die Zerbrechlichkeit der Figur, mit ihrem schlanken Sopran setzte sie leuchtende, dabei verinnerlichte Glanzpunkte. (\u2026)\u201c<\/h6>\n<h6 style=\"padding-left: 30px;\"><span style=\"color: #000000;\"><em>\u201eKampf mit schwerem Trauma\u201c<\/em> von Wolfgang Denker<\/span><\/h6>\n","protected":false},"excerpt":{"rendered":"<p>\u00a9 Fotos Andreas J. Etter Besetzung DIALOGUES DES CARM\u00c9LITES Pressestimmen: OPERNWELT, Juni 2007 \u201eEine Oper ohne Liebeshandlung? Ein Vertreter des Regietheaters wie J\u00f6rg Behr hat damit keine Probleme, er erfindet eine. Und zwar eine inzestu\u00f6se zwischen der jungen Blanche und ihrem Vater, dem Marquis de &hellip; <a href=\"https:\/\/www.joergbehr.de\/?page_id=424\" class=\"more-link\"><span>Continue reading<span class=\"screen-reader-text\">Francis Poulenc: DIALOGUES DES CARM\u00c9LITES &#8211; Oldenburgisches Staatstheater<\/span><\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":2,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-424","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P9tc3I-6Q","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":67,"url":"https:\/\/www.joergbehr.de\/?page_id=67","url_meta":{"origin":424,"position":0},"title":"Vita","author":"Schorse","date":"27. November 2017","format":false,"excerpt":"J\u00f6rg Behr, geboren in Bremen, studierte w\u00e4hrend der Schulzeit als Jungstudent Violine an der Bremer Hochschule f\u00fcr K\u00fcnste. Nach dem Abitur absolvierte er den Studiengang Musiktheater-Regie in Hamburg (Leitung: G\u00f6tz Friedrich), den er 1997 mit Auszeichnung und der Inszenierung von Luciano Berios Fassung von Mozarts ZAIDE abschloss. Von 1997 bis\u2026","rel":"","context":"\u00c4hnlicher Beitrag","block_context":{"text":"\u00c4hnlicher Beitrag","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.joergbehr.de\/wp-content\/uploads\/2017\/11\/JoergBehr.jpg?fit=1200%2C797&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.joergbehr.de\/wp-content\/uploads\/2017\/11\/JoergBehr.jpg?fit=1200%2C797&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.joergbehr.de\/wp-content\/uploads\/2017\/11\/JoergBehr.jpg?fit=1200%2C797&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.joergbehr.de\/wp-content\/uploads\/2017\/11\/JoergBehr.jpg?fit=1200%2C797&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/www.joergbehr.de\/wp-content\/uploads\/2017\/11\/JoergBehr.jpg?fit=1200%2C797&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":419,"url":"https:\/\/www.joergbehr.de\/?page_id=419","url_meta":{"origin":424,"position":1},"title":"Georg Friedrich H\u00e4ndel: SAUL &#8211; Theater Bielefeld","author":"Schorse","date":"3. Dezember 2017","format":false,"excerpt":"\u00a9 Fotos: Kai-Uwe Schulte-Bunert https:\/\/www.joergbehr.de\/?page_id=542 Pressestimmen: NEUE WESTF\u00c4LISCHE ZEITUNG am 9. Oktober 2012 \u201e(...) Regisseur J\u00f6rg Behr hat Georg Friedrich H\u00e4ndels Oratorium \u201eSaul\u201c und seine biblische Geschichte in die Gegenwart geholt. \u00dcberzeugend lotet er die Figuren, ihre privaten Konflikte und Entwicklungen aus, zeigt aber auch die politische Dimension des Werks\u2026","rel":"","context":"\u00c4hnlicher Beitrag","block_context":{"text":"\u00c4hnlicher Beitrag","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":400,"url":"https:\/\/www.joergbehr.de\/?page_id=400","url_meta":{"origin":424,"position":2},"title":"Richard Strauss: ARIADNE AUF NAXOS &#8211; Theater Freiburg","author":"Schorse","date":"3. Dezember 2017","format":false,"excerpt":"\u00a9 Fotos: Maurice Korbel https:\/\/www.joergbehr.de\/?page_id=633 \ufeff Pressestimmen: BADISCHE ZEITUNG, 26. November 2012 \u201eMan tut gut daran, J\u00f6rg Behrs Freiburger Neuinszenierung der Oper \u201ein einem Aufzuge nebst einem Vorspiel\u201c nicht mit vorschnellen Interpretationen zu begegnen. \u00c4hnlich wie in dem St\u00fcck geht es nicht nur um den Widerstreit zwischen hoher und nied\u2019rer\u2026","rel":"","context":"\u00c4hnlicher Beitrag","block_context":{"text":"\u00c4hnlicher Beitrag","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":722,"url":"https:\/\/www.joergbehr.de\/?page_id=722","url_meta":{"origin":424,"position":3},"title":"Bruno Maderna\/Henry Purcell: MEETING DIDO am Theater Augsburg","author":"Schorse","date":"13. Dezember 2017","format":false,"excerpt":"\u00a9 Fotos: Nik Sch\u00f6lzel https:\/\/www.joergbehr.de\/?page_id=757 Pressestimmen: BAYERISCHER RUNDFUNK, BR 4 Klassik am 24. April 2012 \u201eEs ist ein Br\u00fcckenschlag zwischen den Epochen: rund 300 Jahre liegen zwischen Henry Purcells Oper \u201cDido und Aeneas\u201d und \u201cSatyricon\u201d von Bruno Maderna aus dem Jahr 1972. \u00a0(\u2026) Es ist nichts mehr wie sonst im\u2026","rel":"","context":"\u00c4hnlicher Beitrag","block_context":{"text":"\u00c4hnlicher Beitrag","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":441,"url":"https:\/\/www.joergbehr.de\/?page_id=441","url_meta":{"origin":424,"position":4},"title":"Bruno Maderna: HYPERION &#8211; Theater Freiburg","author":"Schorse","date":"3. Dezember 2017","format":false,"excerpt":"\u00a9 Fotos: Beatrix von Pilgrim https:\/\/www.joergbehr.de\/?page_id=779 AUSGEZEICHNET MIT DEM G\u00d6TZ FRIEDRICH PREIS 2002 Pressestimmen: OPERNWELT Februar 2001 \u201eNoch nie wohl hat ein Regisseur H\u00f6lderlins Hyperion in einen so konkreten Kontext gebracht wie J\u00f6rg Behr in Freiburg. Mit Erfolg, dies sei vorweggenommen. Denn die Breisgauer Umsetzung von Madernas \u00abLirica in forma\u2026","rel":"","context":"\u00c4hnlicher Beitrag","block_context":{"text":"\u00c4hnlicher Beitrag","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1514,"url":"https:\/\/www.joergbehr.de\/?page_id=1514","url_meta":{"origin":424,"position":5},"title":"DER VETTER AUS DINGSDA &#8211; Landestheater Coburg","author":"Schorse","date":"24. Mai 2019","format":false,"excerpt":"\u00a9 Fotos Sebastian Buff und J\u00f6rg Behr https:\/\/www.joergbehr.de\/?page_id=1519 Teaser des Landestheaters Coburg https:\/\/vimeo.com\/334122871 Pressestimmen Bayerischer Rundfunk am 6. Mai 2019 (BR24, BR Klassik) \u201e(\u2026) 1921 schrieb Eduard K\u00fcnneke eine Operette \u00fcber unerf\u00fcllte Sehns\u00fcchte und die Liebe nach dem Unerreichbaren. Am Landestheater Coburg macht J\u00f6rg Behr daraus ein umjubeltes Kammerspiel mit\u2026","rel":"","context":"\u00c4hnlicher Beitrag","block_context":{"text":"\u00c4hnlicher Beitrag","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.joergbehr.de\/wp-content\/uploads\/2019\/05\/1417_ltc_2019_vetter_aus_dingsda.jpg?fit=1200%2C800&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.joergbehr.de\/wp-content\/uploads\/2019\/05\/1417_ltc_2019_vetter_aus_dingsda.jpg?fit=1200%2C800&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.joergbehr.de\/wp-content\/uploads\/2019\/05\/1417_ltc_2019_vetter_aus_dingsda.jpg?fit=1200%2C800&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.joergbehr.de\/wp-content\/uploads\/2019\/05\/1417_ltc_2019_vetter_aus_dingsda.jpg?fit=1200%2C800&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/www.joergbehr.de\/wp-content\/uploads\/2019\/05\/1417_ltc_2019_vetter_aus_dingsda.jpg?fit=1200%2C800&ssl=1&resize=1050%2C600 3x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.joergbehr.de\/index.php?rest_route=\/wp\/v2\/pages\/424","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.joergbehr.de\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.joergbehr.de\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.joergbehr.de\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.joergbehr.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=424"}],"version-history":[{"count":11,"href":"https:\/\/www.joergbehr.de\/index.php?rest_route=\/wp\/v2\/pages\/424\/revisions"}],"predecessor-version":[{"id":840,"href":"https:\/\/www.joergbehr.de\/index.php?rest_route=\/wp\/v2\/pages\/424\/revisions\/840"}],"up":[{"embeddable":true,"href":"https:\/\/www.joergbehr.de\/index.php?rest_route=\/wp\/v2\/pages\/2"}],"wp:attachment":[{"href":"https:\/\/www.joergbehr.de\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=424"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}