[theatre/opera] Peter Brook and W. A. Mozart - The Magic Flute (Cankarjev dom, Linhart Hall)
Performed in Ljubljana by a France-based smaller opera company, it was my first live insight into a part of theatre history, represented by the name and the opus of Peter Brook. And it was more or less what I had expected, partially following the tradition of ancient aoidos (ἀοιδός) or rhapsodos (ῥαψῳδός), simplifying some parts and making a very natural, non-abundant communication with the audience work; on the other hand there was made visible the usage of "empty space" directing, as described in Brook's most epochal works and as performed in most of his creations. A very interesting performance, if indeed somewhat rigid and dull at certain times - yet concisely following its own logic at all times.
[theatre] Oedipe Tyran - Opera Theatre Metz
An epical theatre work of mostly anachronistic visual and acting poetry, directed by a French director working with the actors from Saratov, Russia. A very unsatisfying and vague performance alltogether, quite remarkably bad casting of certain roles, yet some very small eye-candies or well spoken monologues and especially a very intriguing (if it would not have the whole performance as its predecessor) last scene, in which some kids are representing an allegory of irrationality and chaos still made it at least a little worth the time.
[restaurant] Le Touareg - Mulhouse
A new and probably never again used cathegory - this restaurant in this small town in Alsace (France) was a very special treat. The elderly man was a the same time the waiter and the only cook and cashier and everything in the restaurant, yet he managed to cook very delicious Moroccan food for six people (who did not eat small amounts of food) in a very manageable time and be very witty at the same time. My sincere virtual thanks to him for a surprisingly refreshing evening.
[movie] Leos Carax - Holy Motors (Kinodvor)
An inspiring movie which has a strong potential of elegantly detaching yourself from the real world, yet not in a completely abstract, but schizophrenic and softly daunting, even pensative mood, however intense the scenes may be, they are never befallen by the rash tempo of cheap surprise or shock. Denis Lavant is a master of invisible transitions between different characters, yet the movie's biggest forte is probably the intelligent comedy it brings to its otherwise unconventional short cuts, scenes, flashes and twists in perception. It is a joyous cinephile movie with an interesting and philosophical contact to our global reality - not in a proclamatory way.
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