| In 1933 the piece adopted the form of a "ballet chante" with a Balanchine's choreography for the personal splendor of the dancer, the producer's wife. Repeatedly protested by Bertolt Brecht of the bourgeois character of this opening assembly, too much spectacular, moving and dissolute for the correct view of the Brecht drama and the Weill's dense sound atmosphere. In opposition to that historical premiere, the production that we present deliberately offers a not psicologist interpretation that understands and develops the work rather like a pantomime or an immoral tale, without happy end. Where the schizophrenic double perspective of (those) Anna(s) appears as an undesirable byproduct of this monstrous capitalist society, more in the sense that we would understand nowadays that both creators perpetrated it, without for it to give up to orchestrate a new autonomous and original dramatic event./ Source |
