A Diptych: or why we present the work once as a performance and once as an opera (Or, is it the other way around? The choice is yours to make regarding how you view it).
Opera and performance share similar characteristics.
Preoccupation with extreme conditions.
The splendor of daily life, the daily splendor.
The desire for deadly intensity. .
The awareness of the artificiality of all what we touch upon.
The ultimate precision in the planning of the action.
The lack thereof, even the parody of „uncertainty“of the actual performance. .
The realization that the power of dominance often generates our unwilling collaboration.
The realization that the power of resistance rather than offering an explanation more often than not is either silent, sings, bangs its head on the wall, shatters windows or cries for help.
A doubtful attitude towards „grand labels“.
A need for heterogenic performers, regardless of the prevailing classification and hierarchy of staged performances.
In the work of Pina Bausch, opera and performance (as presenting modules) continue to engage in direct dialogue. The techniques and politics of these performances allow extreme „unclear“combinations of genres, techniques and tools of expression, and performing adequacy. .
A divide rather than a strict division is respected.
Contact, even at the cost of violence.
And the experience of delivery, as unique as the parchment of the performing body.