Abstract

In 2015, the German director staged Beethoven’s Fidelio at the Salzburg Festival. Guth’s intertextual interpretation rethinks the meanings of prison and of Hades, of the underworld, for the 21st century. The paper seeks theoretical reference points for a more nuanced reading of this interpretation of Fidelio, and highlights above all the influence of Jean Cocteau’s and Robert Wilson’s work, in addition to various cinematic and theatrical allusions.

Talk to us

Join us for a 30 min session where you can share your feedback and ask us any queries you have

Schedule a call

Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.