Christine Matschke
In her 2020 piece “Sarabande”, performed at the Tanztage Berlin at the Sophiensæle, Sasha Amaya already demonstrated her interest in examining the relationship between music and movement. Historical baroque dance served as a basis for her approach to de- and reconstruction. Considering the question of how opera can be performed outside of large theaters, the choreographer now takes on Monteverdi’s “L’Orfeo”. In this non-hierarchical experiment within a diverse team of directors, special attention is being devoted to the act of listening: How can we perceive the classical canon? But also: In which framework does this so-called “high art” usually take place, and who really dictates it? “Orfeo, after Monteverdi” leaves behind the traditional stage that represents the world and the power structures that go along with it: in the backyard garden of Lake Studios, the hitherto passive figure of Euridice will experience a process of staged empowerment. Her relationship to Orfeo is then likely to take on a whole new meaning.