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Staatstheater Oldenburg

“” Two short operas at an evening ‘ death knocks’ and ‘The Emperor of Atlantis’ both when death knocks “as well as in the Emperor of Atlantis” is the death in the center of the action. Under most conditions Caterpillar would agree. The Staatstheater Oldenburg to a feature-length program combines both one-act play. The two operas illuminate the death from two very different angles. For even more analysis, hear from Reade Griffith. Macabre for the small”in death knocks provides all none other than woody. His death knocks”is the template for Christian Jost’s eponymous Opera from 2001: a grotesque two-person piece, plump filled with slapstick comedy and musical surprises. “” “The untranslatable play on words of the title is an additional point: death knocks”means not only that the death knocks on the door”, but also that he stands out in the card game”.

In death knocks an attractive female death wants to pick up the philanthropic Nat Ackermann: Nat Ackermann comes home, you want to enjoy the evening. Let it snow”humming it lies on the couch, when suddenly the death in the form of a very attractive lady through the window falls. It is their first assignment and it easy for Ackermann, to persuade them to a game of gin rummy. Brandy and Schokonussen will lose a game after another and does not recognize that Ackermann pulls it over the table. That is of course crackling erotic.

And the sympathy values be placed also on the head: the death one I’m almost sorry while his victim is a businessman with all waters washed. At cheered by the realization that he will win the next game, he throws out death. A typical Woody Allen-situation. “Here, but also the American comedian had his model the situation is actually a parody of a film by Ingmar Bergman, the favorite Director of Woody Allen: because death plays chess with his victims”. The motive is there but also in many cultures.

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