Publication de la traduction du livre sur Edith Tudor-Hart début octobre 2016:
OUR DOCUMENTARY FILM "TRACKING EDITH" IS COMPLETED.
UNSER DOKUMENTARFILM "AUF EDITHS SPUREN" IST ABGESCHLOSSEN.
BERICHT VON DEN DREHARBEITEN ZUM DOKUMENTARFILM "AUF EDITHS SPUREN"
DAS BUCH "DIE DUNKELKAMMERN DER EDITH TUDOR-HART" IST AM 21. MAI ERSCHIENEN:
"THE DARK ROOMS OF EDITH TUDOR-HART"
"LES CHAMBRES NOIRS DE EDITH TUDOR-HART"
EINIGE KRITIKEN/REAKTIONEN ZU 'DIE DUNKELKAMMERN DER EDITH TUDOR-HART'
REVIEWS RE. THE PUBLICATION OF "THE DARKROOMS OF EDITH TUDOR-HART"
Frankfurter Allgemeine Zeitung
Neue Zürcher Zeitung
Metropolis/Arte (ab Minute 32')
Mit großer Freude zum S. Fischer Verlag zurückgekehrt...Erscheinungstermin Frühjahr 2015
Very happy to announce my return to S. Fischer Verlag, after years in "exile". My new book to be published in the Spring of 2015
Mon retour, avec grande joie, aux éditions S. Fischer. Mon nouveau livre sera publié au printemps 2015
THE PERFECT AMERICAN IN BRISBANE, AUSTRALIA, SEPTEMBER 2014:
A wonderful review from the Brisbane Times, by
Brisbane Festival and Opera Queensland
in association with Queensland Performing Arts Centre and Griffith University present
The Perfect American
15 20 Sept
Following its world premiere in Madrid and acclaimed London season, the latest opera from iconic composer Philip Glass will make its Australian debut in Brisbane.
With ingenious animated projections and design, The Perfect American imagines the final months of Walt Disney’s life, including mythical imaginings of Abraham Lincoln and Andy Warhol.
This visually spectacular production designed by Dan Potra and directed by esteemed international theatre director Phelim McDermott (Metropolitan Opera), includes a stunning international and Australian cast, led by conductor Gareth Jones (English National Opera).
Featuring British baritone Christopher Purves as Walt Disney, Cheryl Barker as Hazel, Douglas McNicol as Roy Disney, Donald Kaasch as Dantine, Marie McLaughlin as Lillian Disney and Kanen Breen as Andy Warhol alongside the Opera Queensland Chorus and Queensland Symphony Orchestra.
To conclude this magnificent collaboration, Ben Wright will choreograph dancers from Brisbane’s Expressions Dance Company and Britain’s Improbable Theatre.
Don’t miss one of this year's most exciting music theatre events.
Festival Conversations: pre-performance talks by John Colwill will occur in the Concert Hall foyer:
- Mon 15 Sept, 7.15pm-7.35pm
- Wed 17 Sept, 5.45pm-6.05pm
- Fri 19 Sept, 7.15pm-7.35pm
- Sat 20 Sept, 7.15pm-7.35pm
An ABC symposium discussion on The Perfect American will take place on Thu 4 Sept, 6.30pm at ABC Studios - see Festival Conversations for more details.
Sung in English with projected surtitles.
This performance features some smoke and haze effects.
An Opera by Philip Glass
Based on the Book by Peter Stephan Jungk
Libretto by Rudolph Wurlitzer
©2011 Dunvagen Music Publishers Inc. Used by Permission.
Commissioned by Teatro Real, Madrid, and the English National Opera, London.
In collaboration with Improbable.
Cnr of Grey & Melbourne Sts
AB 26. APRIL 2014 AM THALIA THEATER HAMBURG:
'CLÔTURE DE L'AMOUR' VON PASCAL RAMBERT
DEUTSCHE ÜBERSETZUNG VON PETER STEPHAN JUNGK
'ENDE EINER LIEBE', MIT JENS HARZER UND MARINA GALIC...
"Der Text in der Übersetzung Peter Stephan Jungks ist eine böse Anklage von nahezu bernhardscher Wucht, die Performance auf eine virtuose Weise minimalistisch...Und der tosende Schlussapplaus zeigt: Das Publikum ist überhaupt nicht besonders ironiesüchtig, das Publikum denkt manchmal ganz gerne über die Liebe nach."
Jens Harzer und Marina Galic giften sich an © Krafft Angerer
37. INNSBRUCKER WOCHENENDGESPRÄCHE 2014, VOM 15. BIS 17. MAI 2014
zum Thema „Traum“
MODERATOR: PETER STEPHAN JUNGK
Autorinnen und Autoren: Nico Bleutge (Berlin), Ann Cotten (Berlin), Ralph Dutli (Heidelberg), Peter Stephan Jungk (Paris), Robert Kleindienst (Salzburg), Judith Kuckart (Zürich, Berlin), Josef Oberhollenzer (Bruneck), Peter Truschner (Berlin), Birgit Unterholzner (Bozen), Andrea Winkler (Wien)
Lesungen: ORF Tirol, Studio 3, Rennweg 14, 20.15 Uhr, Donnerstag, 15. 5. und Samstag, 17.5.
Gespräche: Ensembleproberaum des Tiroler Landestheaters, Freitag, 16. 5. Und Samstag 17.5., jeweils von 10:00 bis 12:00 und von 15:00 bis 17:00
The Perfect American is now available on DVD and bluray
Jetzt auf DVD und bluray erhältlich
disponible sur DVD et bluray
THE PERFECT AMERICAN AUF ARTE, AM 30. SEPTEMBER 2013, UM 21H55
EN FRANCE SUR ARTE À 22H30
THE PERFECT AMERICAN AT THE LONDON COLISEUM - IN A BEAUTIFUL PRODUCTION
How ironic that Walt Disney, who virtually banished death, disease and misery from the cartoon world he created, should be the subject of an opera focused entirely on his last months — when he was dying of lung cancer and very scared by the prospect. And that this opera about the master of animation should be composed by Philip Glass, famed for writing possibly the least animated music in the Western world.
Yet, against many expectations, The Perfect American works. That’s partly because of a brilliant, allusive and cinematic production by Phelim McDermott, and a near-faultless cast — largely the same for English National Opera as for the world premiere in Madrid in January.
But Glass’s music is also more interesting than in many of his previous 24 operas. From the ticktock percussion opening — time running out for Walt — through passages that evoke Sousa marches in the smalltown America that Disney idealised, to the deep, moody film noir orchestrations throbbing through much of the work, this is a score (impeccably conducted by Gareth Jones) deliberately at odds with the saccharine-perfect make-believe created by Disney himself.
Not that The Perfect American is a hatchet-job on Mickey Mouse’s creator. Indeed, many might be disappointed that Rudy Wurlitzer’s episodic libretto, based on Peter Stephan Jungk’s book, doesn’t take the mickey enough. Dantine, an embittered sacked employee (Donald Kaasch), challenges Disney about passing off the work of hundreds of illustrators under his name. But Andy Warhol (an hilarious cameo by John Easterlin) pops in to say that this is what all modern artists do. Damien Hirst might surely agree.
Similarly, an out-of-control animatronic Abraham Lincoln (an excellent Zachary James) physically attacks Disney for his racist views. But then a young boy dying of cancer (touchingly played by Rosie Lomas) tells Walt that going to Disneyland was the best moment of his short life. And that’s the way this even-handed opera progresses, with the commanding Christopher Purves playing Disney — with slow-motion deliberation — more as flawed but avuncular folk-hero than exploitative monster.
What gives the show depth and dazzle is McDermott’s use of video animations (59 Productions) and his acting group Improbable to evoke both the flickering film of early Hollywood and an animal kingdom that, unlike Disney’s, is more sinister than cuddly. The dark climax is the arrival of Lucy, a trick-or-treating girl dressed as an owl (Lomas again) — for Disney a terrifying portent of his impending doom. The opera should have finished with Disney’s death, but it’s still an engrossing two hours.
Box office: 020-7845 9300, to Jun 28
Opera review: Walt Disney in fantasyland
In the new Philip Glass work, 'The Perfect American,' the visionary is a flawed, dying man who, even so, makes magic.
MADRID — Walt Disney was hardly a perfect American.
He may have been the most famous and beloved American during his lifetime. But his private magic kingdom was not always the happiest place on Earth. Disney had his own private torments and is reputed to have railed against unions, blacks and Jews.
At least that is part of the 21st century Disney legend, and it is necessarily part of Philip Glass' new opera, "The Perfect American." Far from sterilized yet also disarmingly affectionate, it looks at Disney the myth, the artist and the man. The work contrasts between the America that formed Walt Disney and the America he formed for the rest of us.
And that is what makes Disney a perfect American opera character, even if it took Spain to bring Glass' "The Perfect American" to the lyric stage. The premiere (in English) was Tuesday night here at the Teatro Real.
PHOTOS: The Perfect American
Glass delves deep into the psyche of a visionary at the end of his life, of an artist who devoted his life to a vision of a world without death, now grappling with mortality. By most counts this is Glass' 24th opera, and it is his most personally intimate. It does what opera does best by making the larger-than-life creator of Mickey Mouse an imperfect life-size, ultimately earning our wonderment.
A small, artificial controversy had built up around the premiere, mostly instigated by the British press when word got out that "The Perfect American" would depict a bigoted Disney. Even Glenn Beck asked why Disney is being painted as a racist and misogynist.
Glass' project began in the United States, when Belgian opera impresario Gerard Mortier commissioned it for the struggling New York City Opera in 2008. When the money was cut, Mortier took "The Perfect American" to Madrid.
American novelist and screenwriter Rudy Wurlitzer wrote the quick-moving libretto, which is based on a German novel by Peter Stephan Jungk. A recurring image is an owl that Disney killed as a boy. He had been told an owl was an ominous sign; the opera suggests he never got over the incident.
In the prologue, a delirious, dying Disney imagines the owl overhead in his hospital bed. In one of many flashbacks, Lucy, a neighbor girl, shows up at his Holmby Hills home trick-or-treating in an owl costume, causing a commotion. Back in the hospital, a hallucination of Lucy as the owl is Disney's last vision.
This is a Walt Disney whose whole career can then be seen as a spectacular effort to overcome his demons. He creates fantasylands where there is no death, no threat, no blood. But in his dying, Disney must confront those demons with his defenses down. In Glass' opera, Disney does this as an artist.
PHOTOS: Arts and culture in pictures
The first act is the public Disney. With his brother and partner, Roy, Walt returns to the small Midwest town where he grew up (it became the model for Disneyland's Main Street) and where he is worshiped like a god to donate a public swimming pool. The libretto jumps between time and place, always showing Disney in command. In his hospital bed he hopes to defy death, fascinated with the new theories of cryogenics (although the rumors that he was actually frozen have long been dismissed).
In his office at his Burbank studio years earlier, he and Roy recall triumphs and plot the future. At a birthday party, Glass gives Walt a bright new tune for Happy Birthday.
In the act's final scene, Disney goes to Anaheim late at night to help repair the animatronic Disneyland Lincoln, which has been malfunctioning and attacking members of the audience. Disney gets in an argument with the robot about blacks, and Lincoln goes crazy again and whacks Walt.
The second act is the inner Disney, the insecure artist. Andy Warhol pays a surprise visit to tell Disney how much he loves the work. A fired animator, Dantine, accuses Disney of exploiting his workers and of having little artistic talent. (Disney counters with his ability to bring his visions into being.) As he lay dying in 1966, 10 days after his 65th birthday, Disney befriends an injured, awe-struck young boy, Josh, who becomes his savior.
Glass' repetitive style is recognizable throughout, but with this opera he shows more harmonic richness than ever, which seems just right for every situation, mood or thought.
The production by British director Phelim McDermott, who was responsible for the Metropolitan Opera's impressive production of Glass' Gandhi opera, "Satyagraha," five years ago, celebrates Disney's drawings with projections on moving screens. A group of funky animators seems to operate all that goes on on stage. The characters are wild yet believable, even and especially the animatronic Lincoln.
PHOTOS: The Perfect American
Baritone Christopher Purves has captured in Disney the charisma, arrogance and humanity of the man, and it's already a candidate for one of the most important opera performances of the year. He makes racist or anti-Semitic remarks sound not like tirades but like attitudes that were all too common at the time, especially around Los Angeles. One of the points of "The Perfect American" is to show us how much times have changed.
The rest of the mostly excellent large cast includes David Pittsinger as Roy Disney, Donald Kaasch as Dantine, Janis Kelly as Disney's nurse Hazel George, Marie McLaughlin as his wife, Lillian, and John Easterlin as Warhol. Rosie Lomas made a strong impression in the high-lying parts of the owl-girl Lucy and Josh, the boy in the hospital. And Zachary James had a touch of Daniel Day-Lewis in his Lincoln.
Dennis Russell Davies, who has led the premieres of most of Glass' operas and symphonies, once more made sure of tone and detail.
This production will next be presented at English National Opera in London this June. Then Los Angeles? There is no guarantee, but this is a great American opera that needs to be seen in L.A. And it is also the only great L.A. opera.
THE OBSERVER, SUNDAY, JANUARY 6, 2013
Walt Disney portrait with Mickey Mouse, 1950. Photograph: Alfred Eisenstaedt/Time & Life Pictures/Getty
See what's on
The Perfect American
Sat 01 Jun 13 - Fri 28 Jun 13
9 performances remaining
'THE PERFECT AMERICAN' AT THE ENO IN LONDON, IN JUNE 2013
À partir de 27/8 et jusqu'au 31/8 tous les soir à 20h30:
La Traversée de l’Hudson de Peter Stephan Jungk
Thème(s) : Création Radiophonique| Littérature Contemporaine| Littérature Etrangère| Hudson| Peter Stephan Jungk
INTERVIEW MIT LAURENT BINET: HOLLANDE IST EIN BOXER!
"Zwischen Biografie und Autobiografie"
Peter Stephan Jungk "Zwischen Biografie und Autobiografie", Stadt Salzburg, 12 Juni 2012
Fictionalised account of animator's life, one of nine new productions to be staged by the company, will present a 'nightmarish' vision of Walt Disney
FRANCE INTER FIN MARS 2012:
LE COEUR ÉLECTRIQUE À PARTIR DU 7 MARS 2012
FRANZ WERFEL - A LIFE FROM PRAGUE TO HOLLYWOOD...
NOW AVAILABLE AS E-BOOK:
DER MANN MIT DER KROKOTASCHE:
DER ENTRÜMPLER ÜBERRUMPELT MICH:
LECTURE À L'INSTITUT GOETHE À PARIS, LE 7 NOVEMBRE 2011
Ad Edmund de Waal, 'Der Hase mit den Bernsteinaugen'
"Im Zauberland der Hasen"
Über den Briefwechsel Stefan Zweig - Joseph Roth:
"Wir werden nicht alt, wir Exilierten!"
À propos HUBERT SAUPERS neuem FILM:
"Im Sputnik über Afrika"
JOHANNES-LEPSIUS-HAUS IN POTSDAM, AM 9.9.2011
AM 8. SEPTEMBER 2011, 18 UHR
Haus der Berliner Festspiele
Der „Buchpreis der Salzburger Wirtschaft“ wird heuer dem in
Paris lebenden Autor Peter Stephan Jungk verliehen
DIE GESTÄNDNISSE DER MADAME M. (Erschienen in: 'Die Welt', 27.8.2011)
MORGENS UM 7 BEI RTL MATIN (Erschienen in: 'Die Welt', 16.7.2011)
MEIN MARKTHÄNDLER AM MARCHÉ ALIGRE (Erschienen in: 'Die Welt', 21.5.2011)
MIT ANSELM KIEFER IN CROISSY-BEAUBOURG (Erschienen in: 'Die Welt', 16.4.2011)
"Das Elektrische Herz" erschienen im Februar 2011 im Verlag Zsolnay/Hanser
DAS ELEKTRISCHE HERZ AUF FACEBOOK...
Rezension in der Neuen Zürcher Zeitung, 27. April 2011:
AD PAUL NIZON: STAATSPREIS FÜR EUROPÄISCHE LITERATUR, AM 15. NOVEMBER 2010
AD PETER HANDKE, "IMMER NOCH STURM"
CLAUDE LANZMANN: DER PATAGONISCHE HASE
KRITIK ERSCHIENEN AM 4. SEPTEMBER 2010 IN 'DIE WELT'
'The Inheritance' published in February 2010, by Pushkin Press, London (First edited in Gemany, in 1999, as 'Die Erbschaft')
Philip Glass is planning an opera based on 'The Perfect American', for 2013 at the Teatro Real in Madrid & the English National Opera