At the end of the second act, when the action reaches its climax, I thematize National Socialism and, in so doing, Hitler's abuse of Wagner's work, as well as Bayreuth’s fatal coquetry with Hitler. Our history influences our perception of reality and the way we approach Wagner's art today. That's why I chose to send Parsifal on a journey through time - from Wagner's time to the present day – thereby showing that the mythical and mystical aspects of this work are strongly linked to our own history. Or which doesn’t then support the theatricalisation of what I think a staging of the work should thematize.Ī central motif in Parsifal is that "time becomes space".
German history certainly forms an important framework for my directorial concept, but I never impose anything on a performance that I don’t have the support for in the music.
Stefan Herheim, how were you able to let German history provide the framework of your Parsifal without thematising the Holocaust? Stefan Herheim at the new Opera House in Oslo. Stefan Herheim interview about Parsifal Stefan Herheim: The Theatre is my Templeīy Erling E.
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