Guy Cassiers, Dominique Pauwels et Erwin Jans nous expliquent le processus de répétitions du MCBTH.

Le metteur en scène, le compositeur et le dramaturge de MCBTH lèvent le voile sur les préparatifs de leur nouveau spectacle, et en dégagent quelques lignes thématiques.

Following on from Onegin, Wolfskers and Blood and Roses. The Song of Gilles and Jeanne, Guy Cassiers and Dominique Pauwels are working together once again. This is the first time Guy Cassiers has tackled Shakespeare. MCBTH is a pared down version of Macbeth with six musicians live in the orchestra pit and three female singers live on stage. Theatre, opera and visual technology reduce Shakespeare’s tragedy of the imagination to its naked essence.  

“The development of Macbeth – his growing bloodlust, the internalization of his moral struggle, his enforced isolation, the loosening of his grip on reality, the hell of his imagination – is interpreted through singing and music. For Dominique the play must begin as a stage play, but as Macbeth acquires greater power and commits more and more murders, the theatre medium begins to fragment and another medium creeps in: opera. Eventually Macbeth is so caught up in his power struggle that he loses sight of the world around him.” – Erwin Jans 

Harold Bloom: "Shakespeare's final strength is radical internalization, and this is his most internalized drama, played out in the guilty imagination that we share with Macbeth."

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