{"id":532,"date":"2008-03-22T11:37:45","date_gmt":"2008-03-22T10:37:45","guid":{"rendered":"http:\/\/claudiadoderer.com\/2016\/en\/portfolio\/architektur-des-regens\/"},"modified":"2016-06-07T16:07:45","modified_gmt":"2016-06-07T14:07:45","slug":"architektur-des-regens","status":"publish","type":"portfolio","link":"https:\/\/claudiadoderer.com\/en\/portfolio\/architektur-des-regens\/","title":{"rendered":"architektur des regens."},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]Opera by Klaus Lang based on a text by Motokiyo Zeami
\nComposition commissioned by Landeshauptstadt M\u00fcnchen for 11. M\u00fcnchner Biennale
\nIdea: Klaus Lang and Claudia Doderer
\nMusical Director: Mark Rohde
\nProduction, stage design, and costumes: Claudia Doderer
\nPremiere: April 18, 2008, Gasteig, Carl-Orff-Saal, M\u00fcnchen[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_accordion active_section=”0″ collapsible_all=”true”][vc_tta_section title=”Habakuk Traber: On architektur des regens.” tab_id=”1464809818652-0267dcaa-2c06″][vc_row_inner][vc_column_inner][vc_column_text]Habakuk Traber
\nOn\u00a0architektur des r<\/em>egens.<\/i><\/p>\n

(\u2026) Aesthetic consensus exists on the fundamental issues. Both artists pursue an aesthetic of concentration. Each detail is essential, with no difference between substance and ornament: everything is substance. Lang\u2019s music steers away from figurations\u2014the things that normally make music sound \u2018fast\u2019 and \u2018familiar\u2019 (Klaus Lang: \u201cIt\u2019s easier to compose fast passage work than to write slow, quiet music\u201d). Likewise, Claudia Doderer\u2019s visual concept does without d\u00e9cor. The sleeve of a dress is as important as the measurements of a stage set. Klaus Lang\u2019s music arises from a specific idea about sound, while Claudia Doderer\u2019s stage concept involves the interaction of rooms built inside rooms. Both implement a limitation of means to achieve an intensification of effect. The actors\u2019 movements on and around the stage frequently seem larger than they really are. The sound attained by five singers and eight instrumentalists often has a wider effect than one would expect from an ensemble of this size. Klaus Lang and Claudia Doderer achieve this not through the principle of accumulation, of the agglomeration and multiplication of stimuli, but through the reduction and concentration they both produce and demand of their listeners and viewers.<\/p>\n

Additional effects arise due to inner accordances deriving from the special nature of this project. Proportions essential to the temporal structure of Klaus Lang\u2019s compositions can be found in Claudia Doderer\u2019s spatial concept. In architektur des\u00a0regens.<\/em>, there is an inner gravitation at work; in the end product, it can be called \u2018harmony.\u2019 It arises from the contradictions inherent in things.<\/p>\n

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Excerpt from the program brochure for architektur des\u00a0regens.<\/em>, 11th Munich Biennial, International Festival for New Music Theater, 2008[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_accordion][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]\n\t\t\t

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