Big Marionette, Little Marionette
2019; Oxford University Press; Volume: 35; Issue: 4 Linguagem: Inglês
10.1093/oq/kbaa004
ISSN1476-2870
Autores Tópico(s)Diverse Musicological Studies
ResumoDie Zauberflöte Staatsoper Unter den Linden Production Premiere: February 17, 2019 Composer: Wolfgang Amadeus Mozart Libretto: Emmanuel Schikaneder Musical Director: Alondra de la Parra Director: Yuval Sharon Set Design: Mimi Lien Costumes: Walter Van Beirendonck Light: Reinhard Traub Video Design: Hannah Wasileski Sound Design: Markus Böhm Choir Master: Anna Milukova Dramaturgy: Krystian Lada, Benjamin Wäntig Les Contes d’Hoffmann Salzburger Marionettentheater Production Premiere: May 24, 1985 Revival Premiere: April 13, 2019 Composer: Jacques Offenbach Librettist: Jules Barbier Recording: Orchestre de la Suisse Romande, DECCA Director: Wolf Dieter Ludwig 2019 Revival: Philippe Brunner Set Design: Günther Schneider-Siemssen Costumes: Bernd-Dieter Müller When we think of puppets, we tend to think small. Puppets often inhabit worlds of reduced dimensions, some marvelously delicate, others makeshift, even crude: pint-sized figures hang from strings and sway atop rods. We imagine these figures to be controlled behind the scenes. The operators, however, are not always hidden; in some traditions, puppeteers appear, in full-view or camouflaged, alongside their diminutive companions—and suddenly, we are in the presence of giants. To the miniature puppet, its puppeteer is huge. Conversely, a giant puppet can shrink its puppeteer, transforming her from an all-powerful overseer, a would-be god, into the brains of the operation, an enshrined homunculus.
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