Audience :
The audience gradually enters the play from the outside, is addressed as such, is drawn into the narrative, and then loses itself again, directed outward into nature, oblivious. As the then tragic event progresses to death, it is again drawn into the event. The composed mourning in the long ebbing final section is aimed entirely at his inner self.
The audience is put into situations:
rotating mirrors, the audience sees itself moving in moments, spatial experience, archaic pathos, meditative, immediately sensual/
primal things like hate, rage, striving for power, experience of nature/
the audience is mirrored by the choir and also by electroacoustic feeds/
no archaic development of feelings as in conventional opera, rather broken/
renewed tuning process of the orchestra, but artificially from loudspeakers, accompanied by the orchestra itself/
Space as geometry - as living space - as personal environment - as natural environment, forming an artificial acoustic space through eight-channel feeds/
Thematizing problems of setting to music with the myth of Orpheus of all things - the text is spoken by an actor (temporarily with almost inaudible Latin interjections in the background).
Keywords:
* particularistic, pluralistic/.
* ambiguity, nothing absolute, not pacifying opposites, without wholeness, but also without
dialectics/
* no narrative theater...and yet../
* Narration as a medial building block among other processes/
* Playing with feelings: interrupting seemingly purposeful sensations, as an object alternating
alternating with meditative circular movements, bringing a directionality to a standstill in time/
* thematizing medial procedures as such/
* directly perceiving in its immediacy detaching from the narrowly semantically restricting/
* space as such / singing as such / anger as such / tension against relaxation / in
and structural subtlety from learned ark-feelings as they are usual in opera/ * directly perceivable
common in opera/
* On the other hand, in contrast, greater differentiation of perceptible textual content
through speaking instead of singing/
Sticking to the narrative is loosened by contradictions:
deliberately incomprehensible moments of speaking and singing/ deliberately false accustomed associations of musical sound structures and speech semantics/.
utterances expected from speaking and singing characters on stage sometimes come from loudspeakers as ritualization (external power)/
of all things, the sounds of special voice (archaic singing moments) and string (a 3m long self-construction for the stage), which mark the primordial of the respective sound source, are amplified and simulate suggestive spatial fillings/...
disturbing irony and deep seriousness at the same time - direct - ambivalent.