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El verdadero artista jamás podrá vivir a medias, del mismo modo que el ave no puede resistirse al impulso de volar. Es parte de su naturaleza. Toda su preparación tiene como único fin darle dirección a su talento para transformarlo en algo sublime. Su labor es no estorbar y ser congruente con su visión única del mundo.
Hoffmann puede parecer un hombre loco, oscuro, incomprensible, pero lo único que hace es dar rienda suelta a su propia visión del mundo que lo rodea. Genera nuevos mundos para poder resistir la intensidad con la que le afecta su realidad. Stella por su lado tiene también sus propios impulsos artísticos, que ha terminado vendiendo al mejor postor. No se le puede culpar por querer sobrevivir. Muchos de nosotros hemos vendido nuestros sueños e ideales buscando encontrar un punto medio. A lo largo de tres cuentos fantásticos vemos transfigurada una relación de estos dos artistas que se conocen desde jóvenes, como luchan cada uno de ellos por seguir la pasión que los arrebata y como ésta finalmente termina separándolos. Así, el cuento de Olympia no solo muestra una Stella joven y virtuosa, sino también a un joven Hoffmann, a punto de sacrificar su talento para llevar una vida con base a la norma. En la historia de Antonia, el poeta ya ha decidido seguir su camino, lo cual lo separa de su prometida. Ella a su vez termina cediendo hacia su propio impulso de cantar lo cual la destierra al mundo de los condenados, es decir, los artistas y las cortesanas. Para el acto de Giulietta, ambos artistas han perdido el rumbo. Su pasión los ha arrebatado y se han vuelto almas condenadas, inmersas en un mundo que se ha pervertido así mismo, dispuestos a sacrificar sus propios valores con tal de seguir avanzando. Stella y Hoffmann ya no pueden seguir su camino juntos. Ambos se han sumergido hasta el fondo del barril dionisiaco, lleno de excesos, de donde sus respectivas musas no les permitirán salir más que para volverse a inspirar y seguir creando. Ragnar Conde Director de escena *Les Contes d'Hoffmann Nota del programa The artist and his nature True artists can’t be happy with half measures just like birds cannot resist the urge to fly. It is in their nature. Their entire training has one purpose only: to give direction to their talent so they can turn it into something sublime. Their challenge is to not get in the way of, and to be true to, their own unique vision of the world. Hoffmann may seem a like a madman – someone dark, inscrutable – but all he is really doing is allowing his own vision of the world around him to take flight. He makes up new worlds to cope with the intense way in which reality affects him. Stella also has her own artistic impulses, which she has ended up selling to the highest bidder. Once can’t blame her for wanting to survive. Most of us have compromised our dreams and ideals at some point or other in pursuit of a happy medium. Over the course of three fantastic stories, we see the transfigured relationship between these two artists who have obviously known each other since their youth. We see how each of them struggles to follow the artistic passion that consumes them, and how that passion ends up separating them. The story of Olympia shows us not just a young and virtuous Stella, but also a young Hoffmann about to sacrifice his talent in order to deal a somewhat normal life. In the Antonia story, the poet has decided to follow his path, and this has separated him from his beloved. She in turn, ends up giving in to her own impulse to sing, which automatically banishes her to the world of artists and courtesans, a form of societal death at that time. By the time the Giulietta story comes along, both artists have lost their way. Their passions have gotten the better of them and they are now doomed souls, immersed in a world that has perverted itself, and ready to sacrifice their own values in order to continue climbing. Stella and Hoffmann cannot continue together along a common path. They have both taken a dive to the very bottom of the Dionysian barrel, a place brimming with excess. Their respective muses will not allow them to resurface other tan to occasionally replenish their inspiration and continue creating. Ragnar Conde Stage Director *Les Contes d’Hoffmann, WBO Director’s Note in the program Translation: José Luis Moscovich
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El evento teatral, ya sea hablado, cantado o bailado, tiene su origen en un ritual muy antiguo: sacrificar al ser que somos para transformarnos en un ser superior, en relación a nuestros propios ideales. Así, desde hace más de 2500 años asistimos a representaciones donde ofrendamos la vida de la joven doncella a nuestra propia bestialidad hambrienta, que busca incansablemente respuestas. Buscamos sobrevivir, de eso no hay duda. Necesitamos rescatar de nosotros mismos ese impulso vital que recordamos vagamente de nuestra infancia, ese que nos arrancaba de la cama todos los días para vivir con pasión e intensidad cada día, y que en ocasiones pareciera haberse extraviado entre las arenas del tiempo, o quizás muerto.
No importa cuantas veces lo hayamos visto, queremos una vez más presenciar como muere nuestra heroína por unos ideales que admiramos pero somos incapaces de ser consecuentes con ellos. Quizás porque queremos verlos realizados a través del artista de la escena, tal vez porque quisiéramos destruirlos para que nos dejaran de atormentar porque cada vez se alejan más de nosotros. Tampoco importa si vive en Cartago o España, si vivió ayer o hace miles de años. Lo que importa es que está ahí frente a nosotros recordándonos con su voz, aunque sea por instantes, que estamos vivos y que aún podemos, así sea desde nuestra butaca, experimentar un amor tan intenso como el que te puede llevar a la muerte. The survivor Staged performances, whether spoken, sung or danced, have their roots in an ancient ritual: we sacrifice, as if the stage was an altar, the being we are, in order to transform ourselves into a superior being that is more in line with our own ideals. Thus, for over 2,500 years, we've been attending performances where we offer the life of the beautiful maiden in sacrifice to our own hungry animal nature, tirelessly looking for answers. We seek to survive, no question about it. We need to rescue from within ourselves that vital energy that we vaguely remember from our childhood. The energy that would tear us out of bed every day to go live the day with intensity and passion. That primal energy that sometimes seems to have gotten lost in the mists of time, or perhaps even to have died. No matter how many times we’ve seen it, we want to watch our heroine again, as she dies for ideals that we admire but cannot usually live up to. Maybe it’s because we want to see those ideals realized onstage through the performer; or maybe because we’d like to obliterate them so they stop tormenting us, as they grow farther from our reach. It doesn’t matter whether our heroine lived in Carthage or Spain, or whether she lived yesterday or thousands of years ago. What matters is that she is there, right in front of our eyes, reminding us with her voice, just for an instant, that we are still alive, that we can still, even if only from our seats, experience love so intense that it can kill. Ragnar Conde |
Ragnar CondeSince 1992 Ragnar Conde has been staging several projects in Mexico, Spain, France, Switzerland, Columbia and the United States. He had worked for theatre, opera and films. Archives |
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