Much of the excitement over the Metropolitan Opera’s production of Alban Berg’s Wozzeck has centered around South African artist William Kentridge’s idiosyncratic staging. The haunting set design features an intricate interaction of two dimensional and three-dimensional forms with a blurring of ephemeral animations and projected images in the background, and a static physical framework in front.
With assistance from set designer Sabine Theunissen and projection designer Catherine Meyburgh, Kentridge has created a sepulchral atmosphere in which there are no scene changes, no dropping of the stage curtain, and no moving of any machinery, but fragments do collapse for theatrical effect.
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