Bernada Albas Haus (1999) (with Helmut Oehring)
for 7 dancer, 1 deaf actress, 1 male sopranist, prep. piano/sample-keyboard, 1 e-guit.,
1 contra-bass and live-electronic,
(Word-Premiere: Basel/Rom/Berlin, 1999) Duration: 90 min.
Music for dance theatre after F. Garcia Lorca
commissioned by theaters Basel in cooperation with Hebbel-Theater Berlin and the Fondazine ROMAEUROPA (with sponsorship of the ‘Goethe-Instituts’)
FP: 11. 11. 1999 Theater Basel
Arno Raunig - sopranist/Christina SchÃ¶nfeld - deaf actress/JÃ¶rg Wilkendorf - e-guit./Peter Kowald - contra-bass/Markus Reschtnewki - prep. piano/sampler, dancer Basel-Theatre, choreographie: Joachim SchlÃ¶mer
Bernada Albas Haus
A great piece of world theatre is given new musical expression, in a concentrated and truly contemporary manner, by Helmut Oehring and co-composer Iris ter Schiphorst. The two composers employ idiomatic and, in this constellation, singular techniques: expressing consternation when faced with religious convention and tradition as well as betrayal, violence and death, the Spanish village tragedy is rendered in sign language â€“ accompanied by sampled sounds and charged with musical drama by the piano, guitar and double bass. The only musical protagonist is the soprano. Yet the music is merely a screen for the story which is rendered by the dancers.Thirteen months after their biggest collaboration, Requiem, was presented by Ictus Ensemble in Paris, Donaueschingen and Brussels in autumn 1998, their new project shows another, though completely different, take on historical and spiritual (Catholic) attachment, tradition and convention. While the Requiem was inspired by Mozartâ€™s requiem mass and Live, their most successful collaboration so far (for singer, violin, cello, prepared piano/sampler and live electronics, premiered in Witten in 1997), was inspired by SchÃ¶nbergâ€™s Pierrot lunaire, Bernarda Albaâ€™s House is an imaginative musical account of the Spanish drama.
â€œThe three authors are apparently of like minds and perceptions, thus the resulting dance theatre piece is amazingly coherent. Helmut Oehring and Iris ter Schiphorst wrote a score that reciprocates between extreme states of slow-motion leading to standstill on the one hand and musical congealment in piercing noise on the other. Monotonous repetitions, fractures, new starts of the same ideas, loops, some isolated sounds from outside (bells, a bird) and time and again fragments from Bach and Schubert â€“ memories of the past, of a perfect world, a sense of yearning lost in the noise of an age-old grammophone. To Lorcaâ€™s characters, Oehring and ter Schiphorst added a peculiar couple, whose function resembles that of the evangelist in Bachâ€™s Passions. In reality, though, the two added characters personify the impossibility of telling a story which is actually set in the world of emotions. One of them is the deaf actress Christina SchÃ¶nfeld, who recounts the basic story of Bernarda Alba and her daughters in sign language, the other is countertenor Arno Raunig, whose text is naturally incomprehensible, as it is sung in cantilena style, and who literally fills the main charactersâ€™ fate with expression. Throughout the whole work the couple seems strangely unwieldy, also in the musical context, because â€“ though doing what you would expect them to do â€“ they are ultimately impossible to understand.
On the basis of this score, Joachim SchlÃ¶mer produced a choreography for the ensemble of the Basel dance theatre company which was characterised by realistic symbolism, featuring the stage and dress colours (or non-colours) black/white and occasionally red (Frank Leimbach, Gesine VÃ¶llm). The only â€˜realâ€™ dance is a fatal flamenco. Like the music, the dancing style is dominated by discontinuous, fragmentary elements: disturbances, random activism, eruptions leading to nothing. Only Bernarda Alba, with her slow gait and movements, represents frightening steadiness. In all the premieres, music and dance merged to a black emotional theatre consisting of gesture, movement and sound, uncompromising, unvarnished, brutal, but moving. The dancers of the Basel dance theatre company and the musicians Peter Kowald (double bass), Markus Retschnefki (prepared piano, keyboard) and JÃ¶rg Wilkendorf (electric guitar) gave definition to dance and sound. And at last I got hold of a seat in the Hebbel Theatre, to experience the necessity of the Dolby surround acoustics (Torsten Ottersberg).â€
In: Positionen February 2000