Ensemble
Ensemble
© Tobias Witzgall
Ensemble
Ensemble
© Tobias Witzgall
Hanno Waldner, Márcia Jaqueline, Tina Eberhardt, Britta Bayer
Hanno Waldner, Márcia Jaqueline, Tina Eberhardt, Britta Bayer
© Tobias Witzgall
Tina Eberhardt
Tina Eberhardt
© Tobias Witzgall
Nikola Rudle, Tina Eberhardt
Nikola Rudle, Tina Eberhardt
© Tobias Witzgall
Nikola Rudle, Georg Clementi
Nikola Rudle, Georg Clementi
© Tobias Witzgall
Britta Bayer, Diego da Cunha
Britta Bayer, Diego da Cunha
© Tobias Witzgall
Hanno Waldner, Georg Clementi
Hanno Waldner, Georg Clementi
© Tobias Witzgall
Georg Clementi, Mozarteumorchester Salzburg
Georg Clementi, Mozarteumorchester Salzburg
© Tobias Witzgall
Georg Clementi, Hanno Waldner
Georg Clementi, Hanno Waldner
© Tobias Witzgall
Márcia Jaqueline, Paulo Muniz
Márcia Jaqueline, Paulo Muniz
© Tobias Witzgall
Sophie Mefan, Hanno Waldner
Sophie Mefan, Hanno Waldner
© Tobias Witzgall
Britta Bayer, Larissa Mota, Márcia Jaqueline, Sophie Mefan, Nikola Rudle, Hanno Waldner und Christoph Wiescke
Britta Bayer, Larissa Mota, Márcia Jaqueline, Sophie Mefan, Nikola Rudle, Hanno Waldner und Christoph Wiescke
© Tobias Witzgall
Tina Eberhardt, Nikola Rudle, Paulo Muniz, Christoph Wieschke und Georg Clementi
Tina Eberhardt, Nikola Rudle, Paulo Muniz, Christoph Wieschke und Georg Clementi
© Tobias Witzgall
Nikola Rudle, Paulo Muniz, Christoph Wieschke
Nikola Rudle, Paulo Muniz, Christoph Wieschke
© Tobias Witzgall
Tina Eberhardt, Nikola Rudle, Paulo Muniz
Tina Eberhardt, Nikola Rudle, Paulo Muniz
© Tobias Witzgall
Ensemble
Ensemble
© Tobias Witzgall
Sophie Mefan
Sophie Mefan
© Tobias Witzgall
Sophie Mefan
Sophie Mefan
© Tobias Witzgall
Diego da Cunha, Márcia Jaqueline, Larissa Mota, Paulo Muniz
Diego da Cunha, Márcia Jaqueline, Larissa Mota, Paulo Muniz
© Tobias Witzgall
Paulo Muniz, Márcia Jaqueline (unten), Larissa Mota (oben), Diego da Cunha
Paulo Muniz, Márcia Jaqueline (unten), Larissa Mota (oben), Diego da Cunha
© Tobias Witzgall
Britta Bayer, Nikola Rudle
Britta Bayer, Nikola Rudle
© Tobias Witzgall
Britta Bayer, Nikola Rudle
Britta Bayer, Nikola Rudle
© Tobias Witzgall

Mozart Moves! Seven Short Plays

Seven short plays by Martha Bátiz, John von Düffel, Tom Holloway, Shlomo Moskovitz, Guadalupe Nettel, Éric-Emmanuel Schmitt, Jorge Volpi inspired by divertimenti by Wolfgang Amadeus Mozart

World Premiere: 27/01/2020 / Salzburg State Theatre

Synopsis

A co-production of the Salzburg Mozarteum Foundation and the Salzburg State Theatre

Tickets for the following dates can be booked via the Mozarteum Foundation as part of the Mozart Week programme: 27/01/2020 // 30/01/2020 // 02/02/2020

In a focus on drama, the Mozart Week 2020 continues 2019’s successful cooperation of the Salzburg Mozarteum Foundation and the Salzburg State Theatre. In time for Mozart’s birthday, Mozart Week Director Rolando Villazón teams up with co-director Christina Piegger to stage original texts by seven international literary artists. The fact that global star Rolando Villazón has chosen to collaborate with the Salzburg drama ensemble for this project makes the event a very special occasion. Head of the ballet division Reginaldo Oliveira and members of the theatre’s ballet ensemble contribute elements of dance to this manifold, Mozart-inspired encounter of the arts.

Seven authors of great international renown were invited to write short theatrical plays inspired by Mozart’s divertimenti. Thus, closely-written sheets with divertimenti by Wolfgang Amadeus Mozart met empty pages for new texts by Mexican-Canadian author Martha Bátiz, German dramatist John von Düffel, Australian playwright Tom Holloway, Israeli author Shlomo Moskovitz, Mexican poet Guadalupe Nettel, Franco-Belgian dramatist and film director Éric-Emmanuel Schmitt and Mexican reformer of literature Jorge Volpi.

The result is a feast for the eyes and ears: together with stage and costume designer Eva Musil, Villazón and Piegger have created a platform for the encounter of music, new texts and choreographed movement.

 

Franco-Belgian novelist, playwright and film director Éric-Emmanuel Schmitt is one of the most widely read and performed authors in the French language. Schmitt became famous as a dramatist for his play Le Visiteur, for which he won the Molière Award.
A young woman places an unconventional, very short ad with a matchmaking agency. It only consists of one sentence:ICH LIEBE MOZART (K. 253). A number of very different men visit the agency and speculate about the type of woman who might be hiding behind this mysterious profile. After several rather unlikeable candidates, the young woman finally finds a very apt suitor.

The award-winning Mexican-Canadian author Martha Bátiz also works as a translator and teaches Spanish and literature at the University of Toronto and at Glendon College – York University Toronto.
With (MY) LOVE (IN) YOUR HANDS (K. 388), she has written a blood-curdling psychological thriller about a couple whose relationship is marked by dependence, fanaticism, revenge fantasies and violence.

The Australian Tom Holloway is an award-winning playwright and screenplay writer. Many of his plays have won national and international awards and have for instance been staged in the US, Germany, South Africa and Great Britain. 
In A DEEP AND PHILOSOPHICAL CONVERSATION ABOUT MARMALADE (KV375) , he develops strange, almost absurd dialogues and situations with elements of goofy comedy.

The novel “In Search of Klingsor” is so far the best-known work by Mexcian author Jorge Volpi. Volpi studied law and literature in Mexico and earned his doctorate at the University of Salamanca in Spain. Volpi also worked as a lawyer, as a secretary for the Mexican attorney general and as a cultural attaché at the Mexican embassy in Paris.
In BRAIN MUSIC (KV 251) Volpi examines music from a strictly neuroscientific point of view; does musical enjoyment possibly lead to dopamine flooding of the brain, combined with euphoria, trembling and increased heart rate ...?

Shlomo Moskovitz studied acting and directing in Tel Aviv. He has directed plays for the HaSimta Theatre and for various festivals. He wrote his first theatrical plays in 1990 and also wrote for TV shows at the same time. Some of his plays have been translated into German and presented on various European stages. 
SCHLEIER (K. 251): A Jew living in Austria gives a dinner party at his home and serves pasta. The partner of his Muslim guest has trouble eating it through her face veil. Despite everybody’s attempts at political correctness, the cross-cultural dinner creates problems and results in a very special revelation.

German author, playwright, film journalist and theatre critic John von Düffel studied philosophy and economics in Scotland and Freiburg and wrote his doctoral thesis on epistemology in 1989.
Elisa‘s ordered to the APARTMENT 388 (K. 388); the voice of someone watching Elisa via a camera discusses the commercial service they have booked… 

Writer Guadalupe Nettel was born in Mexico City and earned her PhD in linguistics at the École des Hautes Études en Sciences Sociales in Paris. Nettel has won various international literature awards and her works have been translated into more than ten languages.
In DIE STIMME DES WINDES (K. 253), two women, one young and one old, compare their poetic and philosophical observations about the wind – this breath of the earth that keeps nature moving and without which no sound (and hence no music, noise nor words) could travel. A story filled with wisdom and poetry.

Duration: 2 h 40 min / 1 Break

Introductory Talk: 30 and 45 min before curtain up

 

A co-production of the Salzburg Mozarteum Foundation and the Salzburg State Theatre

Tickets for the following dates can be booked via the Mozarteum Foundation as part of the Mozart Week programme: 27/01/2020 // 30/01/2020 // 02/02/2020

Tickets for all other dates can be booked via the Salzburg State Theatre:
Sat 07/03/2020, 7 p.m. // Thu 12/03/2020, 7:30 p.m. // Fri 27/03/2020, 7:30 p.m. // Tue 31/03/2020, 7:30 p.m. // Sat 25/04/2020, 7 p.m. // Sat 23/05/2020, 7 p.m.

Selected performance

Sa 04/25/2020 07.00 pm

Landestheater

VORSTELLUNGSAUSFALL

Cast (on 04/25/2020)

Audio introduction

von Friederike Bernau

Reviews

Mozart hilft bei der Partnersuche

Was haben ein marmeladesüchtiger Trotzkopf und eine nach Rache dürstende Krankenschwester gemeinsam? Einen Auftritt in „Mozart Moves!“ An diesem Abend spielt die Musik nur die zweite Geige, sie verbindet sieben kleine Theaterszenen, allesamt Uraufführungen. Die Koproduktion von Stiftung Mozarteum und Salzburger Landestheater garantiert gut zweieinhalb Stunden anspruchsvolle Unterhaltung mit Sprech- und Tanztheater und Mozarts Musik.“

Salzburger Nachrichten

„Mozart für alle und Mozart zwischen den Künsten. Außer seinem Lieblingskomponisten haben es Rolando Villazon vor allem die szenischen Darstellungsformen bei der Mozartwoche angetan. Die Uraufführung am Montag bei „Mozart Moves! Sieben Dramolette“ im Salzburger Landestheater hat der Intendant selbst inszeniert und das Publikum damit gut unterhalten. Großer Applaus für Darsteller, Musiker und Autoren beschloss diese Vorstellung.“

Vorarlberger Zeitung

Skurriles bei der Mozartwoche

Gänsehautmomente und ein vom Kopf gerissener Nikab am Salzburger Landestheater. Unter dem Motto "Mozart moves!" wurden sieben Autorinnen und Autoren eingeladen, sich von Mozarts Divertimenti zu Stücken inspirieren zu lassen, die Rolando Villazón im Salzburger Landestheater für die Mozartwoche inszenierte. Es waren Martha Bátiz, John von Düffel, Tom Holloway, Shlomo Moskovitz, Guadalupe Nettel, Éric-Emmanuel Schmitt und Jorge Volpi. Als Basis dienen sollten vor allem die Divertimenti F-Dur KV 253 und D-Dur KV 251 sowie die Serenade KV 388.“

Der Standard

„Sieben Autoren auf der Suche nach einem Bezug zu Mozart. So könnte man den Abend zusammenfassen, den Mozartwochen-Intendant Rolando Villazón für die diesjährige Ausgabe des Festivals initiiert hat. Fraglos eine schöne Idee, zeitgenössische Autoren um kurze Theatertexte zu bitten und diese dann als Pasticcio an einem Abend aufzuführen.“

Bayerischer Rundfunk

„Der Abend heißt Mozart moves!. Man holt sich die Bewegung letztlich doch aus der Musik (dem kammermusikalkisch ambitionierten Mozarteumorchester unter Gabriel Venzago), indem man zwischen den Dramoletten sechs Tanzpaare ausreichend beschäftigt: Äußerst kreative, idiomatische Choreographien von Landestheater-Ballettchef Reginaldo Oliveira. Tanz und Szenenumbau (die Bühne von Eva Musil beschränkt sich aufs Allernotwendigste) fließen ineinander, auch das Umkleiden geschieht immer als Spiel in der Gruppe – das ist elegant und geschmeidig gelöst, erzeugt gar Stimmung.“

DrehPunktKultur