{"id":1277,"date":"2022-01-28T13:08:21","date_gmt":"2022-01-28T12:08:21","guid":{"rendered":"https:\/\/newsletter.opera.wroclaw.pl\/?p=1277"},"modified":"2022-01-28T15:53:17","modified_gmt":"2022-01-28T14:53:17","slug":"kim-jest-don-juan-rozmowa-z-giorgii-madia","status":"publish","type":"post","link":"https:\/\/newsletter.opera.wroclaw.pl\/?p=1277","title":{"rendered":"Kim jest Don Juan? – opowiada Giorgio Madia"},"content":{"rendered":"
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Fine Art photography by Yan Revazov<\/p><\/div>\n

Re\u017cyser i choreograf Giorgio Madia opowiada nam o swojej wizji <\/strong>Don Juana<\/strong><\/em>, nad kt\u00f3r\u0105 b\u0119dzie pracowa\u0142 z naszym zespo\u0142em od pocz\u0105tku lutego a\u017c do premiery w 19 lutego.<\/strong>\u00a0<\/em><\/strong><\/h4>\n

Rozwiejmy wszelkie w\u0105tpliwo\u015bci: jak w\u0142a\u015bciwie wymawia\u0107 tytu\u0142 spektaklu ?<\/strong><\/p>\n

Poprawna wymowa wed\u0142ug mnie to \u2018don huan\u2019, poniewa\u017c oryginalna historia wysz\u0142a spod pi\u00f3ra Hiszpana, dramaturga Tirso de Moline. Mamy r\u00f3wnie\u017c Don Giovanniego i jego bardziej znane wersje jak ta autorstwa Lorenza Da Pontego. Ale moja wersja to \u2018don huan\u2019.<\/p>\n

Kim jest ten tytu\u0142owy Don Juan?<\/strong><\/p>\n

To wci\u0105\u017c otwarta kwestia, kt\u00f3ra jest przedmiotem wielu opracowa\u0144 i opowiada\u0144. W moim balecie, kim on w\u0142a\u015bciwie jest mo\u017cna dowiedzie\u0107 si\u0119 dopiero pod koniec spektaklu. Na pewno jest egoist\u0105, kt\u00f3ry czerpie si\u0142\u0119 z dominacji nad innymi postaciami i og\u00f3lnie rzecz bior\u0105c, nad \u017cyciem. Zostaje ukarany, bo jego czyny stoj\u0105 w sprzeczno\u015bci z nauczaniem Ko\u015bcio\u0142a. Z tego powodu, w mojej produkcji towarzyszy mu posta\u0107, kt\u00f3ra jest kim\u015b w rodzaju jego alter ego, pokrewn\u0105 dusz\u0105, kt\u00f3ra przyjmuje posta\u0107 diab\u0142a. To wskaz\u00f3wka dotycz\u0105ca jego osobowo\u015bci i moja interpretacja tej postaci. Dramaturgia spektaklu lepiej wyja\u015bni, kim tak naprawd\u0119 jest Don Juan. A mo\u017ce b\u0119dzie to pytanie do publiczno\u015bci pod koniec spektaklu\u2026<\/p>\n

Jak opowiada\u0107 na nowo posta\u0107 Don Juana, cynicznego \u0142owcy kobiecych serc, wyrafinowanego kochanka, a jednocze\u015bnie manipulanta i egoisty? Arty\u015bci r\u00f3\u017cnych epok robili to na swoje sposoby.<\/strong><\/p>\n

Moje podej\u015bcie do Don Juana oparte jest na poszukiwaniu, badaniu jego osobowo\u015bci. Doceniam go nie tylko z mentalnego punktu widzenia, ale r\u00f3wnie\u017c z estetycznego. Poci\u0105ga go pi\u0119kno, erotyka, seksualno\u015b\u0107 \u2013 to s\u0105 sta\u0142e cz\u0119\u015bci jego j\u0119zyka. Pokazuj\u0119 to wszystko w moim balecie, w kt\u00f3rym z fascynacj\u0105 m\u00f3wi o seksualno\u015bci i zmys\u0142owo\u015bci, jest w tym nuta deprawacji. Pojawiaj\u0105 si\u0119 w tym balecie powa\u017cne elementy, kt\u00f3re nie s\u0105 dla m\u0142odej publiczno\u015bci. zdecydowanie jest to spektakl dla widz\u00f3w doros\u0142ych.<\/p>\n

Doceniam z\u0142o\u017cono\u015b\u0107 tego baletu, jego dramaturgi\u0119, w kt\u00f3rej interesuj\u0105ce jest to, \u017ce Don Juan nie jest kim\u015b, kto kocha kobiety \u2013 on kocha ich podb\u00f3j. Wyr\u00f3\u017cnia si\u0119 wi\u0119c ju\u017c z punktu psychologicznego. Kolejny aspekt, kt\u00f3ry wzi\u0105\u0142em pod uwag\u0119, to zmys\u0142owo\u015b\u0107. W balecie, nie ma lepszego sposobu na wyra\u017cenie uroku uwodzenia ni\u017c fizyczno\u015b\u0107. Wa\u017cna jest te\u017c estetyka \u2013 chcia\u0142em mie\u0107 na ni\u0105 klasyczne spojrzenie \u0142\u0105cz\u0105ce elementy wsp\u00f3\u0142czesne i retro. Widzimy to w kostiumach z epoki, kt\u00f3re jednak nie s\u0105 dos\u0142owne, s\u0142u\u017c\u0105 raczej interpretacji.<\/p>\n

Balet to afirmacja ludzkiego cia\u0142a \u2013 na czym skupiasz si\u0119, tworz\u0105c choreografi\u0119 i na co chcesz skierowa\u0107 uwag\u0119 widz\u00f3w?<\/strong><\/p>\n

Oczywi\u015bcie w\u00a0Don Juanie<\/em>\u00a0niezwykle wa\u017cny jest czynnik estetyczny, poniewa\u017c taniec jest sztuk\u0105 wizualn\u0105, ale wed\u0142ug mnie strona psychologiczna jest jeszcze bardziej interesuj\u0105ca i to na ni\u0105 chcia\u0142bym zwr\u00f3ci\u0107 uwag\u0119 publiczno\u015bci. To opowie\u015b\u0107 w formie farsy baletowej, w kt\u00f3rej cia\u0142o pe\u0142ni rol\u0119 komentatora, podobnie jak w\u00a0commedia dell\u2019arte,\u00a0<\/em>kt\u00f3ra by\u0142a pierwsz\u0105 narracj\u0105 mitu o Don Juanie, jeszcze zanim Tirso da Molina przela\u0142 go na papier.<\/p>\n

Don Juan\u00a0<\/strong><\/em>,,ta\u0144czy\u201d z muzyk\u0105 Christopha Willibalda Glucka – jakie \u017cywio\u0142y po\u0142\u0105czysz ze sob\u0105 w ta\u0144cu i muzyce?<\/strong><\/p>\n

Gluck stworzy\u0142 utw\u00f3r\u00a0Don Juan<\/em>\u00a0trwaj\u0105cy oko\u0142o 20 minut \u2013 nie mia\u0142 ambicji opowiedzenia ca\u0142ej historii. Operacja, kt\u00f3r\u0105 wykona\u0142em, polega\u0142a na rozszerzeniu tego baletu na ca\u0142y wiecz\u00f3r, co osi\u0105gn\u0105\u0142em dzi\u0119ki do\u0142\u0105czeniu innych kompozycji tego fantastycznego kompozytora. Us\u0142yszymy je na \u017cywo w wykonaniu cudownej Orkiestry Opery Wroc\u0142awskiej. To w\u0142a\u015bnie pomog\u0142o mi znale\u017a\u0107 inspiracj\u0119 dla tej historii. Muzyka i atmosfera tworz\u0105 ten balet.<\/p>\n

Dlatego warto zobaczy\u0107\u00a0<\/strong>Don Juana?<\/strong><\/em><\/p>\n

My\u015bl\u0119, \u017ce m\u00f3j\u00a0Don Juan<\/em>\u00a0wyr\u00f3\u017cnia si\u0119 oryginalno\u015bci\u0105. Wierz\u0119, \u017ce kto\u015b, kto przyjdzie zobaczy\u0107 ten balet, b\u0119dzie zaskoczony jego r\u00f3\u017cnorodno\u015bci\u0105 i odst\u0119pstwem od tego, co nazywamy standardowym baletem. Oczywi\u015bcie ostatecznym celem widowiska jest dostarczenie publiczno\u015bci rozrywki. Osi\u0105gn\u0105\u0107 to mo\u017cemy za pomoc\u0105 \u015brodk\u00f3w wizualnych oraz dzi\u0119ki wirtuozerii muzycznej.\u00a0Don Juan<\/em> to balet zmys\u0142owy i erotyczny, ma swojego konkretnego adresata, kt\u00f3ry tego oczekuje i chce dobrze si\u0119 bawi\u0107. Poniewa\u017c jest to balet farsowy, ma w sobie r\u00f3wnie\u017c momenty ironii i uduchowienia, jest nawet kilka bardzo dramatycznych moment\u00f3w. Ta historia nie jest lekk\u0105 opowie\u015bci\u0105, widzimy w niej te\u017c zestawienie ogromnych kontrast\u00f3w pomi\u0119dzy \u015bwi\u0119to\u015bci\u0105, religi\u0105 a deprawacj\u0105. To silne w swoim wyrazie aspekty, ich warto\u015b\u0107 dostrzegamy w\u0142a\u015bnie w tych kontrastach.<\/p>\n

Czy b\u0119d\u0105 momenty, w kt\u00f3rych mog\u0105 pojawi\u0107 si\u0119 rumie\u0144ce na twarzy?<\/strong><\/p>\n

S\u0105 momenty, kt\u00f3re mog\u0105 by\u0107 niewygodne. Je\u017celi nie wyja\u015bnimy tych niepokoj\u0105cych stron opowie\u015bci, nie opiszemy jej we w\u0142a\u015bciwy spos\u00f3b. Nie mo\u017cna tego opowiedzie\u0107 lekko, bo to nie jest lekka historia. Ci\u0119\u017car wynika z pojemno\u015bci gatunkowej: znajdzie si\u0119 tam miejsce na komedi\u0119, dramat, pojawi\u0105 si\u0119 elementy zar\u00f3wno ironiczne, jak i zmys\u0142owe. Taniec to uniwersalny j\u0119zyk, a\u00a0Don Juana\u00a0<\/em>w s\u0142owa ubierze Opera Wroc\u0142awska. Nie mog\u0119 si\u0119 tego doczeka\u0107!<\/p>\n

Rozmawia\u0142a Patrycja Czerwi\u0144ska<\/p>\n

 <\/p>\n

Director and choreographer Giorgia Madia, tells us about his vision of Don Juan, which he will be working on with our company from the beginning of February until the premiere on 19 February.\u00a0<\/strong><\/p>\n

Let’s dispel all doubts: how do you actually pronounce the title of the performance ?<\/strong><\/p>\n

The correct pronunciation in my opinion is ‘don huan’, because the original story was written by the Spanish playwright Tirso de Moline. We also have Don Giovanni and its more famous versions like the one by Lorenzo Da Ponte. But my version is ‘don huan’.<\/p>\n

Who is this titular Don Juan?<\/strong><\/p>\n

This is still an open question which is the subject of more than a few studies and stories. Who he actually is, in my ballet you can only find out at the end of the performance. He is certainly an egotist who draws strength from his domination over other characters and life in general. He is punished because his actions contradict the teaching of the Church. For this reason, in my production he is accompanied by a character who is something like his alter ego, a kindred soul who takes the form of the devil. This is a clue to his personality and my interpretation of this character. The dramaturgy of the play will better explain who Don Juan really is. Or maybe it will be a question for the audience at the end of the play…<\/p>\n

How do we re-tell the story of Don Juan, the cynical hunter of women’s hearts, the sophisticated lover, and the manipulator and egoist at the same time? Artists of various eras have done it in their own ways.<\/strong><\/p>\n

My approach to Don Juan is based on a search, an exploration of his personality. I appreciate him not only from a mental point of view, but also from an aesthetic one. He is attracted to beauty, eroticism, sexuality – these are constant parts of his language. I show all this in my ballet, in which he speaks with fascination about sexuality and sensuality, there is a note of depravity in it. There are serious elements in this ballet, which are not for the young audience. it is definitely a performance for an adult audience.<\/p>\n

I appreciate the complexity of this ballet, its drama, in which it is interesting that Don Juan is not someone who loves women – he loves to conquer them. So it stands out already from a psychological point of view. Another aspect that I took into account is sensuality. In ballet, there is no better way to express the charm of seduction than physicality. Aesthetics are also important – I wanted to have a classical look to it combining contemporary and retro elements. We see this in the period costumes, which however are not literal, they are more for interpretation.<\/p>\n

Ballet is an affirmation of the human body – what do you focus on when creating choreography and what do you want to direct the audience’s attention to?<\/strong><\/p>\n

Of course, in Don Juan the aesthetic factor is extremely important, because dance is a visual art, but in my opinion the psychological side is even more interesting and it is to this that I would like to draw the audience’s attention. It is a story in the form of a ballet farce in which the body plays the role of commentator, just like in the commedia dell’arte, which was the first narration of the myth of Don Juan, even before Tirso da Molina put it on paper.<\/p>\n

Don Juan “dances” to the music of Christoph Willibald Gluck – which elements will you combine in dance and music?<\/strong><\/p>\n

Gluck created a Don Juan piece lasting about 20 minutes – he had no ambition to tell the whole story. The operation I performed was to extend this ballet over the whole evening, which I achieved by including other compositions by this fantastic composer. We will hear them performed live by the wonderful Wroc\u0142aw Opera Orchestra. This is what helped me find the inspiration for this story. The music and the atmosphere create this ballet.<\/p>\n

Is that why Don Juan is worth seeing?<\/strong><\/p>\n

I think my Don Juan stands out for its originality. I believe that someone who comes to see this ballet will be surprised by its variety and departure from what we call standard ballet. Of course, the ultimate goal of the show is to provide the audience with entertainment. This is achieved through visual means and musical virtuosity. Don Juan is a sensual and erotic ballet, it has a specific addressee who expects this and wants to have fun. As it is a farcical ballet, it also has moments of irony and soulfulness, there are even some very dramatic moments. This story is not a light story, we also see in it a juxtaposition of the huge contrasts between sanctity, religion and depravity. These are strong in their expression, and we see their value precisely in these contrasts.<\/p>\n

Will there be moments when there may be flushes on the face?<\/strong><\/p>\n

There are moments that can be uncomfortable. If we don’t explain these disturbing sides of the story, we don’t describe it in the right way. It cannot be told lightly, because it is not a light story. The weight comes from the capacity of the genre: there will be room for comedy, drama, there will be both ironic and sensual elements. Dance is a universal language, and Don Juan will be put into words by Wroc\u0142aw Opera.\u00a0I look forward to it!<\/p>\n

Interviewed by Patrycja Czerwi\u0144ska<\/p>\n","protected":false},"excerpt":{"rendered":"

Re\u017cyser i choreograf Giorgio Madia opowiada nam o swojej wizji Don Juana, nad kt\u00f3r\u0105 b\u0119dzie pracowa\u0142 z naszym zespo\u0142em od pocz\u0105tku lutego a\u017c do premiery w 19 lutego.\u00a0 Rozwiejmy wszelkie w\u0105tpliwo\u015bci: jak w\u0142a\u015bciwie wymawia\u0107 tytu\u0142 spektaklu ? Poprawna wymowa wed\u0142ug mnie to \u2018don huan\u2019, poniewa\u017c oryginalna historia wysz\u0142a spod pi\u00f3ra Hiszpana, dramaturga Tirso de Moline. […]<\/p>\n","protected":false},"author":10,"featured_media":1281,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28],"tags":[],"class_list":["post-1277","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-aktualnosci"],"_links":{"self":[{"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/posts\/1277","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1277"}],"version-history":[{"count":6,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/posts\/1277\/revisions"}],"predecessor-version":[{"id":1321,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/posts\/1277\/revisions\/1321"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/media\/1281"}],"wp:attachment":[{"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1277"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1277"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1277"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}