Divadelní noviny Aktuální vydání 21/2019

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    Zemřel Luc Bondy

    FOTO HELMUT FOHRIN

    FOTO HELMUT FOHRIN

    Luc Bondy

    18. 7. 1948 Curych, Švýcarsko – 28. 11. 2015 Curych, Švýcarsko

    Švýcarský scenárista, herec a divadelní a filmový režisér.

    Svoji kariéru začal v Německu, ale nejvíce pobýval a tvořil ve Francii. Od roku 2012 byl ředitelem pařížského divadla Odeon. Již dlouhou dobu byl nemocný. Jeho zdravotní stav ho nedávno přiměl odložit premiéru připravované inscenace Othello, která se měla konat lednu příštího roku.

    Byl ženatý se švýcarskou produkční Marií-Louise Bischofberger a otcem dvojčat.

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    FOTO archiv

    FOTO archiv

    Nekrolog z Thüringer Allgemeine:

    Theaterregisseur Luc Bondy gestorben

    Er war der Inbegriff des europäischen Kulturschaffenden. Luc Bondys zentraleuropäische Wurzeln, seine Kindheit in Frankreich und seine Regie-Erfolge auf Bühnen in Hamburg, Berlin, Wien, Paris und New York machten ihn zu einem der kosmopolitischsten Theaterleute. Nun ist Bondy mit 67 Jahren in Paris gestorben.

    Dort war der Theater- und Opernregisseur mit Schweizer Pass bis zuletzt und trotz einer schweren Krankheit Direktor des Odeon-Theaters. Nicht nur dort erwies er sich als Regisseur, der mit und nicht gegen sein Ensemble arbeitet und sich so großen Respekt der Schauspieler erwarb. Zu seinen Erfolgen der vergangenen Saisons am Odeon gehörte seine Produktion von Merivaux‘ «Les Fausses Confidences» mit Isabelle Huppert.

    Schon 2012 bewies Bondy psychologisches Geschick, als er seinen Landsmann Bruno Ganz überzeugen konnte, nach jahrelanger Entfremdung vom Theater doch wieder die Bühne zu betreten. «Das war nicht schwierig. Ich habe ihn angerufen und mit ihm sehr viel gearbeitet», meinte Bondy lapidar, nachdem Ganz in Harold Pinters «Die Heimkehrer» brilliert hatte.

    Seine Gabe, alles auszudiskutieren, und eine gewisse Strenge – diese Eigenschaften schrieb Bondy seiner jüdisch-atheistischen Familie und seiner Erziehung in einem calvinistischen Internat in Südfrankreich zu. Bondy wurde 1948 in Zürich als Sohn des Literaturkritikers François Bondy geboren, dessen Familie Prager Wurzeln hatte.

    Nach einem Studium der Pantomime in Paris wurde Bondy bereits mit 25 Jahren zum gefragten Theatermacher. Ionescos «Die Stühle» in Nürnberg und Ödön von Horváths «Glaube, Liebe, Hoffnung» am Deutschen Schauspielhaus in Hamburg zählten zu seinen ersten Erfolgen in den 70er Jahren.

    In Deutschland war Bondy besonders eng mit der Berliner Schaubühne verbunden, wo er von 1985 bis 1988 dem Direktorium angehörte. Im Jahr 1989 inszenierte er dort die Uraufführung von Botho Strauss‘ «Die Zeit und das Zimmer». Yasmina Rezas erfolgreiches Stück «Drei Mal Leben» hob er 2000 am Wiener Akademietheater aus der Taufe. In Wien prägte Bondy von 2001 bis 2013 als Leiter der Wiener Festwochen das Kulturgeschehen.

    Theaterkritiker haben Bondy für seine unverwechselbare und sensible Bühnensprache gelobt, die mit sparsamen, aber aussagekräftigen Gesten auskam. «Ich hasse diese Inszenierungen von Leuten, die in jeder Sekunde ihre Fantasie beweisen müssen», sagte er vor Jahren dem «Spiegel».

    Bondy litt seit jungen Jahren an verschiedenen Krankheiten, die ihn auch immer wieder zu Absagen zwangen. Trotzdem arbeitete er unermüdlich weiter, zuletzt auch an einem Roman. «Ich halte, wie Sie sehen, nichts von schöpferischen Pausen, da kommen nur schlechte Ausdünstungen», sagte er der Wiener Zeitung «Der Standard».

    «Durch seine persönliche Geschichte und seine außergewöhnliche Arbeit verkörpert er die Kultur Europas», sagte Frankreichs Präsident Francois Hollande. Der Regisseur selbst hatte bescheidene Ansichten über das Theater. «Es kann Menschen nicht ändern und für sie auch nicht denken. Es kann nur in der Zeit, wo es passiert, zeigen, dass bestimmte Leute Ängste haben oder Mahnungen ausdrücken über Zeiten, die kommen werden», sagte er dem Wiener «Kurier».

    dpa, 28. 11. 2015 – 15:55 Uhr

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    FOTO archiv

    FOTO archiv

    Nekrolog z New York Times:

    Luc Bondy, Swiss-Born Theater and Opera Director, Dies at 67

    Luc Bondy, a Swiss-born stage director whose productions, known for their shrewd probing of human behavior and attention to acting subtlety, were featured in Europe’s most prestigious theaters and opera houses, died on Saturday. He was 67.

    Odéon Theater in Paris, where Mr. Bondy was the director, said on its website the cause of death was pneumonia. Unconfirmed news reports said that he died in Zurich. Since receiving a diagnosis of cancer in his 20s, he had often had health problems.

    Mr. Bondy’s range encompassed the classic and the modern. In theatrical drama, he directed Shakespeare, Chekhov and Ibsen as well as Ionesco, Jean Genet, Peter Handke and Yasmina Reza. He directed operas by Mozart, Verdi and Strauss and by the contemporary composers Philippe Boesmans and Marc-André Dalbavie.

    Mr. Bondy was a widely respected figure in Europe. President François Hollande of France said in a statement that Mr. Bondy had “embodied, by his personal history and his exceptional work, the culture of Europe.” But his reputation didn’t shield him from controversy in the United States, where he is best known for his production of Puccini’s “Tosca” for the Metropolitan Opera in New York in 2009. (It concluded its most recent engagement at the Met on Tuesday.)

    The production, spare, dark and sexually daring replaced Franco Zeffirelli’s sumptuous, hyper-real “Tosca,” which had been a Met favorite and a tourist attraction since its first staging in 1985; it created an immediate brouhaha.

    The curtain call on opening night elicited a wave of booing; several critics weighed in with corrosive reviews; and Mr. Zeffirelli, who hadn’t even seen it, called Mr. Bondy a “third-rate” director and declared his tinkering with “Tosca” to be “a crime.”

    Karita Mattila as Tosca and Marcelo Álvarez as Cavaradossi in the Met's new production, directed by Luke Bondy. FOTO ANDREA MOHIN

    Karita Mattila as Tosca and Marcelo Álvarez as Cavaradossi in the Met’s new production, directed by Luke Bondy. FOTO ANDREA MOHIN

    The New York Times critic Anthony Tommasini wrote, “Mr. Bondy probably wanted to rid his ‘Tosca’ of stock clichés, yet his heavy-handed ideas are just as hackneyed.”

    When that production returned in the spring of 2010 with a different cast led by Patricia Racette, Bryn Terfel and Jonas Kaufmann, Mr. Tommasini wrote that Mr. Bondy’s production remained “drab, confused and full of gratuitous strokes geared to rattle ‘Tosca’ devotees.” Though he also declared the opening “one of the most exciting performances of the Met season to date, thanks to three exceptional singers.”

    In any case, most critics acknowledged that however notorious Mr. Bondy’s “Tosca” had become, it was not representative of his work.

    Mr. Bondy was far from a self-aggrandizing extravaganza creator or provocateur.

    In operas, including Mozart’s “Così Fan Tutte” and “Don Giovanni,” which he created in the early 1990s for the Vienna Festival; in “Hercules,” an oratorio by Handel that Mr. Bondy staged in modern dress when it appeared at the Brooklyn Academy of Music in 2006; and in theater works including Shakespeare’s “The Winter’s Tale,” Mr. Bondy became known for illuminating character and finding unexplored depths in the emotional lives portrayed on the stage.

    Manuel Brug, the music critic for the German newspaper Die Welt, said in an interview on Monday that Mr. Bondy was a great director who made the most of great collaborators. One example, he said, was Mr. Bondy’s production of Richard Strauss’s “Salome,” which was created for the Salzburg Festival in 1992. It starred the soprano Catherine Malfitano and Mr. Terfel, the bass-baritone, and was conducted by Christoph von Dohnanyi.

    “You could feel his great sensitivity in his work,” Mr. Brug added. “He was at his best when he was exploring relations between human beings. With him it was always about shadow and light. He made you look in the corners. It was not so much that he told me something new about the text; but he did show me the most subtle things in the heart of a piece. Not newness, but richness and nuance. When you saw a good Bondy production, you went away happy.”

    Mr. Bondy was born in Zurich in July 1948, into a family of intellectuals — the French newspaper Le Figaro reported that his father, François, was a philosopher — and grew up there and in Paris. He studied mime with the French actor and teacher Jacques Lecoq, and then spent much of the early part of his career in Germany, working in Frankfurt and Cologne and helping lead the Schaubühne theater in what was then West Berlin.

    Se ženou a dvojčaty. FOTO archiv

    Se ženou Marií-Louise Bischofberger a jejich dvojčaty. FOTO archiv

    Mr. Bondy’s survivors include a wife and two children.

    His most recent productions include Chekhov’s “Ivanov” at the Odéon in Paris this year, and Mr. Dalbavie’s opera “Charlotte Salomon,” at the Salzburg Festival in 2014.

    “He was Swiss but with a French twist,” said Mr. Brug, noting that Mr. Bondy was a bit of an outsider in Germany, where his career began after a period of political and protest theater.

    “French elegance, French taste — and French melancholy, that too,” Mr. Brug added. “He was never a guy for spectacles. He was not a political guy. His work seldom had political impact. He started doing pantomime, and he always loved magicians onstage. He had tricks, he showed tricks — but subtle tricks. He would never let an elephant disappear — but a mouse, yes.”

    Bruce Weber, Dec. 1, 2015

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    FOTO archiv

    FOTO archiv

    Direction
    Stage productions

    1971 : Der Narr und die Nonne (The Fool and the Nun) by Stanisław Ignacy Witkiewicz at Göttingen
    1973 : Die See (The Sea) by Edward Bond at the Munich Residenztheater
    1974 : Glaube, Liebe, Hoffnung (Faith, Love, Hope) by Ödön von Horvath at Hamburg
    1977 : Man spielt nicht mit der Liebe by Alfred de Musset at the Schaubühne, Berlin
    1980 : Happy Days by Samuel Beckett at Cologne
    1980 : Yvonne, die Burgunderprinzessin (Yvonne, the Princess of Burgundy) by Witold Gombrowicz at Cologne
    1982 : Macbeth by William Shakespeare at Cologne
    1983 : Sommer (Summer) by Edward Bond at Munich
    1984 : Das weite Land (The Far Country) by Arthur Schnitzler at the Théâtre des Amandiers in Nanterre
    1985 : Triumph der Liebe (The Triumph of Love) by Marivaux
    1989 : Le conte d’hiver by Shakespeare, at Nanterre-Amandier
    1989 : Die Zeit und das Zimmer (The Time and the Room) by Botho Strauß, at Berlin (premier)
    1990 : The Winter’s Tale by Shakespeare, at the Lehniner Palace
    1992 : Schlußchor by Botho Strauß at Berlin (premier)
    1993 : John Gabriel Borkman by Henrik Ibsen at the Théâtre de l’Odéon, Paris
    1993 : Das Gleichgewicht (The Equilibrium) by Botho Strauß, at the Salzburg Festival (premier)
    1994 : Die Stunde da wir nichts voneinander wußten by Peter Handke
    1999 : Waiting for Godot by Samuel Beckett, at the Vienna Festival
    2000 : Drei Mal Leben by Yasmina Reza, at the Burgtheater in Vienna (premier)
    2002 : Anatol by Arthur Schnitzler, at the Burgtheater in Vienna
    2004 : Cruel & Tender by Martin Crimp, at Young Vic, London (premier)
    2005 : Die eine und die andere by Botho Strauß, at Berlin
    2005 : Viol by Botho Strauß, after Titus Andronicus, at Odéon, Atelier Berthier, Paris
    2010 : Sweet Nothings by David Harrower from Arthur Schnitzler’s Liebelei at Young Vic, London (premier)

    Opera productions

    1986: Così fan tutte by Mozart (conducted by Sylvain Cambreling), at Amandier, La Monnaie, Wiener Festwochen
    1989: L’incoronazione di Poppea by Monteverdi, revised Philippe Boesmans, at Amandier, La Monnaie
    1990/1: Don Giovanni by Mozart (condcuted by Claudio Abbado, starring Ruggero Raimondi), at Wiener Festwochen
    1992: Salome by Richard Strauss (conducted by Christoph von Dohnányi, starring Catherine Malfitano and Anja Silja), at the Salzburg Festival, Royal Opera House
    1993: Reigen by Philippe Boesmans (libretto by Luc Bondy, after „La ronde“ by Schnitzler) at La Monnaie
    1995: Le nozze di Figaro by Mozart (conducted by Nikolaus Harnoncourt), at the Salzburg Festival
    1996: Don Carlos by Giuseppe Verdi (conducted by Antonio Pappano, starring Roberto Alagna, José van Dam, Karita Mattila), at Châtelet, Royal Opera House, Opéra de Lyon, Edinburgh Festival
    1999: Wintermärchen by Philippe Boesmans (libretto by Luc Bondy, after The Winter’s Tale by Shakespeare), at La Monnaie
    2000: Macbeth by Giuseppe Verdi (conducted Richard Armstrong), at Wiener Festwochen, Scottish Opera
    2001: The Turn of the Screw by Benjamin Britten (conducted by Daniel Harding), at Festival d’Aix-en-Provence (reprise 2005)
    2003: Hercules by Handel (conducted by William Christie with Les Arts Florissants) at Festival d’Aix-en-Provence, Opéra National de Paris, Wiener Festwochen, De Nederlandse Opera
    2005: Julie by Philippe Boesmans (libretto by Luc Bondy, after Miss Julie by Strindberg), at La Monnaie, Festival d’Aix-en-Provence
    2005: Idomeneo by Mozart (conducted by Daniel Harding), at Teatro alla Scala, Opéra National de Paris (2006)
    2009: Tosca by Puccini (conducted by James Levine), at the Metropolitan Opera, New York City (2009); seen later in Munich and Milan
    2014: Charlotte Salomon (conducted by Marc-André Dalbavie), at the Salzburg Festival, 2014

    Honors

    Hans Reinhart-Ring 1997
    Nestroy-Theaterpreis 2000, Best Director, „The Seagull“

    Pro i-DN z více zdrojů připravil a zpracoval hul

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    • Publikováno: 3. prosince 2015

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