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Die Fledermaus
MC93 Bobigny - from 13 to 23 March 2019
Die Fledermaus
Johann Strauss
MC93 Bobigny - from 13 to 23 March 2019
3h00 with 1 interval
Language : German
Surtitle : French
From ages 12 and above, Junior High and High School
About
In few words:
“’Forget the irreparable’, was the axiom by which the Habsburg monarchy approached its own demise. The despondency of those twilight years could but infiltrate the gaiety of operetta.” So wrote Claudio Magris about Die Fledermaus, a singularly unsettling work with its maelstrom of mistaken identities, dancing and drinking. In 1944, Die Fledermaus was one of the works performed at the Theresienstadt Concentration Camp where some of Europe’s best musicians were held captive by the Nazis. Inspired by this setting, Célie Pauthe draws on the salutary frivolity that brings the work to life and the force of collective resistance it inspired.
Représentations hors les murs :
Les 2 Scènes Besançon
3 Apr. 2019 at 7 pm
5
Apr
. 2019 at 8 pm
Théâtre Impérial de Compiègne
26 Apr. 2019 at 8 pm
Maison de la Culture d'Amiens
15 May 2019 at 7:30 pm
17 May 2019
at 7:30 pm
MC2 - Grenoble
22 May 2019 at 7:30 pm
24 May 2019
at 7:30 pm
Experience the work differently
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Die Fledermaus
Operetta in three acts
After Roderich Benedix, Das Gefängnis (La Prison)
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Performances
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Book your tickets today with the Season Pass
Available in audiodescription
Advantages
Full
Gallery
Videos clips
Backstage
© Elena Bauer / OnP
Article
Eros in Thanatos
Die Fledermaus by the Paris Opera Academy
06’
Célie, when the Academy asked you to stage Strauss’s operetta, how did you come to take an interest in the episode at the Theresienstadt camp?
Can you tell us about that historic episode?
Fayçal, how did match your musical direction with Célie’s project?
Célie, in your production of Bérénice staged last season, you strove to create a dialogue between Racine’s verses and Césarée, the short film directed by Marguerite Duras. This time, you confront Die Fledermaus with history. In order to stage a work, do you need to displace it or deterritorialize it?
You have chosen to translate the dialogue into French…
C. P.: The spoken dialogue underwent some adaptations. I pruned it to give the text a more timeless, less-dated dimension, while at the same time infusing certain details pertaining to Theresienstadt—including footage that we filmed there—to facilitate an understanding of a line here or a retort there.
F. K.: French was important for repositioning the action, but also for conveying the multitude of accents and the cosmopolitanism of the performers. At the beginning of the performance, the singers and musicians introduce themselves by giving their first name and their place of birth. Since we are at the Academy, everyone comes from all over the world. In Theresienstadt too, there was this mix of nationalities. It’s a very moving moment.
C. P.: I needed to move beyond the performers, that’s to say, an absolute present, to allow the performance to be contaminated by discreet quotes from history. It’s also extraordinary to think that some of the performers like Liubov and Danylo were born a few years apart yet one was born in Russia and the other in the USSR. You sense the friction of the tectonic plates of history.