by Lars Harald Maagero In the fall of 2020, I was appointed by the Opera Academy at Oslo National Academy of the Arts to direct a production of Mozart’s Cosi fan tutte with the students on their foundation course. This was an exciting and intriguing task: working with a group of students in their early […]
The most striking moment in the production was the ‘To be or not to be’-soliloquy, which was removed from its dramatic context in the third act and given as the culmination of the performance. The soliloquy was staged not as Hamlet’s private contemplation of suicide, but three actors in the production delivered the speech simultaneously and directed it outwards, towards the audience.
Lynn Hershman Leeson, Roberta Breitmore, 1974-1978. External Transformations: Roberta’s Construction Chart, No. 1, Dye transfer print, 40″ x 30″, 1975. Courtesy of the artist. How has the rendering of the concept of the ‘self’ in art changed from the early 1400s to the digital present? To explore self-representation in self-portraiture, a number of paintings, photographs, […]
But how does recognisable repetition operate as a unique kind of site for invention, and for speech? And how might we see a Global South engagement with the tragic canon as a de-stabilizing gesture – an un-working, rather than a re-working?
Asked by an academic friend to name one book I would save if the world were to collapse in an apocalyptic climate change scenario, I thought: ‘it’s too hard’, but then started going though my mental library. ‘You wouldn’t want to save an academic book, would you,’ said my friend, ‘surely a novel, an artist’s book…’. But in those few seconds I had already settled in my head for Salvatore Settis’ The Future of the ‘Classical’ (Polity, 2006, translated by Allan Cameron). Why?