Dear Friends,
As the world hangs by
the hour and by the minute on a daily drip feed of news reportage, may I invite
all of us, as creators, to enter our proper scope and sphere and perspective of
epic time, epic change, epic awareness, epic reflection, and epic vision?
We are living in an epic period in human
history and the deep and consequential changes we are experiencing in human
beings’ relations to themselves, to each other, and to nonhuman worlds are
nearly beyond our abilities to grasp, to articulate, to speak of, and to
express.
We are not living in the 24-hour news cycle, we
are living at the edge of time. Newspapers and media are completely unequipped and unable to deal with
what we are experiencing. Where is the language, what are the moves, and what
are the images that might allow us to comprehend the deep shifts and ruptures
that we are experiencing?
And how can we convey the content of our lives
right now not as reportage but experience?
Theater is the artform
of experience. In a world overwhelmed by vast press campaigns, simulated
experiences, ghastly prognostications, how can we reach beyond the endless
repeating of numbers to experience the sanctity and infinity of a single life,
a single ecosystem, a friendship, or the quality of light in a strange sky?
Two years of COVID-19 have dimmed people’s
senses, narrowed people’s lives, broken connections, and put us at a strange
ground zero of human habitation. What seeds need to be planted and replanted in
these years, and what are the overgrown, invasive species that need to be fully
and finally removed?
So many
people are on edge. So much violence is flaring, irrationally or unexpectedly. So many
established systems have been revealed as structures of ongoing cruelty. Where
are our ceremonies of remembrance?
What do we
need to remember?
What are
the rituals that allow us at last to reimagine and begin to rehearse steps that
we have never taken before?
The
theater of epic vision, purpose, recovery, repair, and care needs new rituals.
We don’t need to be entertained. We need to gather. We need to share space, and
we need to cultivate shared space. We need protected spaces of deep listening
and equality.
Theater is the creation on earth of the space
of equality between humans, gods, plants, animals, raindrops, tears, and
regeneration. The space of equality and deep listening is illuminated by hidden
beauty, kept alive in a deep interaction of danger, equanimity, wisdom, action,
and patience.
In The
Flower Ornament Sutra, Buddha lists ten kinds of great patience in human life.
One of the most powerful is called Patience in Perceiving All as Mirages.
Theater has always presented the life of this world as resembling a mirage,
enabling us to see through human illusion, delusion, blindness, and denial with
liberating clarity and force.
We are so certain of what we are looking at
and the way we are looking at it that we are unable to see and feel alternative
realities, new possibilities, different approaches, invisible relationships,
and timeless connections.
This is a time for
deep refreshment of our minds, of our senses, of our imaginations, of our histories,
and of our futures. This work cannot be done by isolated people working alone.
This is work that we need to do together. Theater is the invitation to do this
work together.
Thank you deeply for your
work. Peter Sellars
PETER
SELLARS, EE.UU. AUTOR DEL MENSAJE DE ESTE AÑO
Director de Ópera, Teatro y Festivales
Peter Sellars, nacido en Pittsburgh, Pensilvania
(EE. UU.), es un director de ópera, teatro y festivales que ha ganado
reconocimiento internacional por sus interpretaciones innovadoras y
transformadoras de los clásicos, la defensa de la música contemporánea y del
siglo XX y proyectos colaborativos con un alcance extraordinario. de artistas
creativos y escénicos.
Su obra ilumina el poder del arte como medio de
expresión moral y acción social. Ha puesto en escena óperas en la Ópera
Nacional Holandesa, la Ópera Nacional Inglesa, el Festival d'Aix-en Provence,
la Ópera Lírica de Chicago, la Ópera Nacional de París y el Festival de
Salzburgo, entre otros.
Sellars ha colaborado en la creación de muchas
obras con el compositor John Adams, incluyendo Nixon en China, La muerte de Klinghoffer,
El Niño, Doctor atómico, El evangelio según la otra María y Las chicas del
oeste dorado. Inspirándose en las composiciones de Kaija Saariaho, ha guiado la
creación de producciones de su obra (L’Amour de loin, Adriana Mater, Only the
Sound Remains) que han ampliado el repertorio de la ópera moderna.
Los proyectos recientes (antes de la pandemia)
incluyen una nueva producción de Doctor Atomic en la Ópera de Santa Fe, una
puesta en escena de Kopernikus de Claude Vivier para el Festival D’Automne (París)
y una producción de Idomeneo de Mozart para el Festival de Salzburgo.
A fines de 2020, concibió y dirigió “este cuerpo
es tan impermanente…”, una película creada en respuesta a la pandemia mundial
inspirada en el texto del Vimalakirti Sutra. Los próximos proyectos incluyen
una puesta en escena del Roman du Fauvel en colaboración con el musicólogo y
fundador del Sequentia Ensemble, Benjamin Bagby; un renacimiento de la aclamada
producción de Sellars de Tristán e Isolda, su historia iluminada y profundizada
por la trascendente videografía creada por el artista Bill Viola; y Perle
Noire, meditaciones para Josephine, con música del compositor y
multiinstrumentista Tyshawn Sorey interpretada por la incomparable vocalista
Julia Bullock.
Sellars ha dirigido varios festivales artísticos
importantes, incluidos los Festivales de Los Ángeles de 1990 y 1993 y el
Festival de las Artes de Adelaida de 2002. En 2006 fue Director Artístico de
New Crowned Hope, un festival en Viena para el cual invitó a artistas emergentes
y establecidos de diversos orígenes culturales a crear nuevos trabajos en los
campos de la música, el teatro, la danza, el cine, las artes visuales y la
arquitectura para la celebración del 250 aniversario del nacimiento de Mozart.
Se desempeñó como director musical del Festival de Música de Ojai 2016.
Sellars es Profesor Distinguido en el Departamento
de Artes y Culturas Mundiales de la UCLA, director fundador del Instituto
Boethius de la UCLA, curador residente del Festival de Cine de Telluride y mentor
de la Iniciativa Artística Rolex
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