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Curse or blessing: yes
Page of the score
from the opera
In your work for the stage Curse or blessing: yes you present
the fundamental stages of these developments on stage as the manifestations
of Kchatoms inner ideas and contemplations. And in the end, he finds
himself awakening from his dreamy thoughts in todays
Christian times, as the eternal degenerated revolutionary.
And hardly has he publicly spoken about his visions of the unethical situation in the world, when he is excluded from church by the Christian institution.
PETER HÜBNER: In our present times, the church cannot simply kill an independently thinking person or chase him away, today it can only denigrate such a person in public, and only run away from him into the shelter of its ecclesiastical buildings and fenced off land holdings.
JOURNALIST: The churchs offering to Kchatom to devoutly join the parish, go to church, and to suffocate his free thoughts in the routine of religious celebrations, are rejected by him.
PETER HÜBNER: Yes, he has become aware of and has experienced too many things to be able to turn back.
And so he once again thinks
over all his previous experiences right from the beginning in this
case, everything he has experienced on stage as a member of the audience,
but what in reality has developed out of his minds eye in his own
imagination: the creation of the world through the word and the devils
hand, as well as the observance of his laws through the ambitious leaders
of society during the different times, and the application of his laws for
the education of new generations: the consistent guide of the entire world
to the process of self-destruction, to individual, social and ecological
crises which lead plants, animals and humans alike to the edge of an existential
JOURNALIST: During the new re-capitulation of this whole idea of the world, two great scenes in his life crystallise out of Kchatoms minds eye.
He recognises himself in the role of Sysiphus as he, again and again with the greatest effort, heaves himself up the enormous colossus of his endeavour, the high mountain of evolution, and how all troubles slip from his hands, as he ages, dies and resigns, before he reaches the peak of his human striving and this again and again.
And he sees himself in the role of Diogenes, as he beyond all such fruitless efforts sits in his cave at the foot of the mountain of his evolution which he cannot climb by his own efforts, and does not care at all about these Sysiphus endeavours.
© AAR EDITION INTERNATIONAL 2000