• Decker's staging










    Of all the productions of Die Tote Stadt, perhaps the best is Willy Decker's. It was premiered in the Festival of Szalburg, in the year 2002, and since then it has been staged also in Vienna, Madrid, Barcelona, London, San Francisco...

    The most difficult thing about staging Die Tote Stadt is how to manage the long oeneric scene, that goes from the end of the First Act, to the middle of the Third. Decker's happy idea was to split Paul's character in two: a man still dreaming in his armchair, while his alter ego is suffering all kind of ups and downs in the background. In this way, the audience is always reminded that there is nothing real, that we are just witnessing Paul's nightmare.

    Those are some brief thoughts of Decker about Die Tote Stadt:

    "Bruges is not a real place, rather a poetic image. Is not just scenery for a dream, it's the dream itself".

    "Paul is not enthralled by Marietta's beauty, but by her resemblance to Marie. She doesn't love the real woman, but the living picture of the dead one".

    " Marietta's attractive is quite carnal, very solid, very real"

    "Paul tries to keep some balance between dream and reality, but his obsession get the best of him. Like Orpheus, he wants to rescue Euridice from the shadows. But he is not descending to Hades, only to the depths of his own subconscious.

    "Orpheus returns from the Hades without Euridice. Paul returns from his dreams without Marie. But in his imagination, in his claustrophobic visions of obsessive remembrance and possesive holding, that shows the reality of Death has not been accepted, Paul finally can liberate himself from his past, and let Marie to die a true and irrevocable death"



    Marietta's lied from La Fenice DVD:



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