Bayreuth FM

Credits

Title :
Bayreuth FM
Cycle :
Siegfried's Swan Song [2]
Genre :
Dance, Sextet
Date of creation :
2007
Length :
60'
DIRECTION & CHOREOGRAPHY
Mauro Paccagnella
CHOREOGRAPHY & PLAY
Ina Geerts, Lisa Gunstone, Ben Fury, Christophe Morisset, Stéphane Broc, Mauro Paccagnella
ORIGINAL LIVE MUSIC
Christophe Morisset (F), Ina Geerts (B), Stéphane Broc (F)
TEXTS
Extracts from "The Twilight of the gods" (Richard Wagner) ; extracts from "Vrouw" (Betty Mellaerts, ed.Lanoo)
MUSIC
Richard Wagner, Saint-Preux, Schuman, Del Campo
VIDEO
Stéphane Broc
COSTUMES
Fabienne Damiean
SOUND & VIDEO DIRECTION
Benjamin Van Thiel (B)
PRODUCTION
Wooshing Machine
COPRODUCTION
Charleroi/Danses , Théâtre Les Tanneurs (Brussels)
WITH THE SUPPPORT OF
Wallonia-Brussels Federation, SACD, WBT/D, WBI
Bayreuth FM, second part of the The Siegfried's Swan Song tetralogy, resonates at the heart of the solitude of the Men and Women who are heroes in spite of themselves, in a game of irony in which amorous surges and ideological commitment come up against an unavoidable destiny of treachery and death foretold.

Wagner is alone in his visionary silence, but the resonance of his amorous obsessions rebounds with ambiguity and deviation on the six protagonists of the evening, four Siegfrieds and two Brünhildes, the ill-at-ease presenters of a hypothetical Wagnerian radio station in Bayreuth.

BAYREUTH FM was nominated in 2008 at the Belgium French Press Prize as best choreography.

Video

Tour dates

22 nov. to 1st december 2007 - Saison 07-08, Théâtre les Tanneurs - Brussels
7, 8, 9 december 2008 - Saison 07-09 Charleroi/Danses, Objectif Danse 4 - Charleroi
10 to 23 july 2008 - L'été des Hivernales, Théâtre des Hivernales - Avignon
29 march 2009 - Festival Sunergia, Le Capitol - Eupen
30 january 2010 - Festival Périphérique, L'Apostrophe - Cergy Pontoise
9 april 2010 - Escales Danse, Théâtre Paul Elouard - Bezons
15 october 2010 - Saison 2010-11, Le Parvis - SN - Tarbes

Press review

Interview.

Why this title Bayreuth FM, is there a link with radio waves?
Yes, absolutely. It's a hypothetical Wagnerian radio situated at the heart of the Great Master's Temple, and 2 Brünhildes together with 4 Siegfrieds are in charge of it. Here the aim is to diffuse and share Wagner's music with an audience of the faithful. And this is, of course, no parody of Wagner: we are faithful to him, though we do take liberties as to the form! First of all because we are not in a real radio station but in a theatre, but especially because we are not in Bayreuth, but in Les Marolles, Brussels...
On the other hand, 'playing at radio' is not only an oblique and ironic fiction, for there is a deep-seated relationship between radio and power, as history has shown on several occasions.
Our radio plays on the tentacles of a doubtful Wagnerian fanaticism, but, in order to avoid too much ambiguity, 'it was necessary' to slip into the filets of the amorous fanaticism between Siegfried and Brünhilde, the two quintessential Wagnerian heroes.
So, by starting with Wagner and by speaking of Wagnerism, the sounding-board of our radio overflows with contemporary love relationships. Epic passion is transformed into ordinary passion, and, while retaining the original emotional power of the opera, it takes it down into the bowels of our desires and dreams. The public (spectator, listener or accessory) will be called to witness within the frequencies of Bayreuth FM.

Is the production Bayreuth FM really the sequel to Siegfried forever, which was presented last season?
This is not a linear sequel but rather a natural sequel. In Siegfried forever four men, heroes despite themselves, spoke of the identity of man as opposed to woman and to himself. In Bayreuth FM the four men meet two women and let the latter speak, naturally... Let us say it is another angle on the same subject of love and identity.
Yet I would also say that Bayreuth FM plunges you into the depths of Wagnerian passion and gives voice to amorous impulses of men and women who are conscious of inescapable destiny and fatality. A new version of The Twilight of the Gods?

Why have six dancers and actors on stage when ultimately you are representing only two characters, Siegfried and Brünhilde?
I wanted to work with the same four masculine performers of Siegfried forever so as to give continuity to the project, but this was not enough as Brünhildes were also required for the new production! I did not have enough money for four, so I opted for for two blondes... Hence, in the end, there are six for two characters... but if you think that between Siegfried and Brünhilde there are also Gunther and Gütrune, and if you don't forget Hagen and Uncle Wolf, the sums quickly add up...

How are you going to represent this radio?
Tables, microphones, a corner for relaxing, a white background, a bust of Wagner on a fridge, some knackies and six devoted performers: that's our radio! Then, there is some Wagner, obviously, but not only that: noisy guitars, trombone and a singer, not to mention jingles, interviews, etc. Lastly, the radio is a space that cuts through Wagnerian propaganda and is transformed into a space for communication, for 'confessions' that are more or less intimate, more or less heroic, more or less universal, more or less danced, of six exceptional performers...
Bayreuth FM goes deep into the world of Wagner in a game of genre crossovers. The amalgamation of different artistic genres and the diversified cast (a dancer, a musician, an actress, a ballerina, a video artiste and a breaker) are the keys of a project that makes dance its top priority and makes the voice, live music and video images its natural ramifications.
The balance in the play between the False and the True will determine the appropriateness of a production that is constantly shifting between irony and commitment.

– interview by Marie Depré, press Théâtre Les Tanneurs.
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