Patrice Chéreau autographed letter signed Muni Peer Gynt Henrik Ibsen 1980 #15

  

In-4, 21 lines, black ink, 30x21 cm. + autographed envelope Muni / 1, av. De la Bédoyère / 92 - Garches / France.

Letterhead with stamp Bayreuth 1980 / Richard Wagner Festspiele / 25. BEHIND THE SCENES OF THE DANTEAN CREATION OF HENRIK IBSEN'S PEER GYNT BY PATRICE CHÉREAU. Of course I understand your reasons, of course I know that what I offer you is small, very small, yes I understand all that and I don't blame you.

The problem that arises is as follows: I "authorized" as you say Roland Bertin to do The Wild Duck, but Roland has 3 scenes - or 4 - in Peer Gynt, very concentrated and only in the 2nd part. I'm afraid for you only of one thing, not being there at the beginning of rehearsals - nor even in the middle but only at the end, you skip the moment when everything will be created, when everything will be born, and when you arrive your place will be kept, as they say, but there may only be the place that the text leaves you and not everything we could have invented together with everyone.

I don't know if I'm making myself understood, I'm a little afraid of the solution you propose, I'm afraid of it for you and for me in the pleasure we must have in working together. Give me a few more days to think about it if you will. In the meantime, receive, dear Muni, the assurance of my sincere affection. Theater and opera director, filmmaker, screenwriter, film producer and French actor. In 1974, he was offered by.

To direct the Ring Cycle for the centenary of the Bayreuth Festival, after the refusals of. For the staging of the four operas comprising The Ring of the Nibelung performed between 1976 and 1980. In the year of its creation, the production caused a huge scandal, but in 1980, at the time of writing this letter on the letterhead of the "Bayreuth 1980" festival, the production ended up winning a historic success, hailed by over an hour of applause at the end of the last performance. As evidenced by this important letter addressed to. Already working on the next move, namely his epic staging of Henrik Ibsen's Peer Gynt.

7 hours of spectacle in two alternate days, hundreds of actors on stage - created on May 6, 1981 at the Théâtre National Populaire de Villeurbanne. We find ourselves immersed in the complex creation of. Where the director has to deal with the many difficulties of synchronizing the actors' schedules. At that time, had indeed committed with. To stage the Trilogy of the Seeing Again by.

Created on January 20, 1981 at the Théâtre des Amandiers in Nanterre, but also wants to work with. Takes the example of the actor. Who has committed himself to the rehearsals of the other Ibsen play The Wild Duck, directed by. Known for the tensions created by his work and directing demands - while remaining courteous, the director puts.

In his place by specifying that the two situations are not comparable. Only intervening for a few scenes from the second day of performance, in the 4th act.

Furthermore, and this is what is most interesting here from a dramaturgical point of view, is the demand of. On the creative process and the necessity for him that the actors be there to "invent together". As evidenced by the following document, an agreement was reached and. Played very different characters in the drama at different key moments of the play during its creation in May 1981.

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