Composer Philip Glass and the director Robert Wilson this year have been on a
revival tour of their 1976 avant-garde opera “Einstein on the beach”. It was
performed in the Bay Area at the Zellerbach Auditorium in UC Berkeley in front
of a packed audience on Sunday October 25.
The opera is
four and a half hours long with no intermissions. Audience members are allowed
to take breaks on their own. Even with breaks not much is missed. But I decided
to experience every second of the performance.
The opera
consists nine acts and five knee plays. Glass defines a "Knee Play"
as an interlude between acts and as "the 'knee' referring to the joining
function that humans' anatomical knees perform".
In this review I
will spare the reader the logistics on the synopsis of the various acts and mostly
describe the essence of the performance.
Einstein on the
Beach is a very puzzling and cryptic opera. All the performers are adorned in the
same clothes. They continuously mutter the same strange nonsensical phrases. The
dancers repetitively perform the same dance sequences. There is a sense of
blinding continuity, which immediately casts a spell on the audience. No effort
should be induced into understanding the opera. It mimics life with its
absurdities and conundrums.
The performance
should be taken as a personal journey-to be enjoyed full heartedly.
The music by
Glass lets the mind wander and sway. The performance is like hashish. It causes
a feverish delirium where immediately afterwards one starts hallucinating. As
per Dr.Oliver Sacks, from N.Y.U School of Medicine, in older times hallucinations
were regarded as gifts from the gods and were considered to have a positive and
comforting role. I did see and hear my loved ones. I also saw the stage being
lifted and the performers floating around the auditorium.
In Heideggerian
terms this opera can be symbolized as the study of ‘philosophy’. A useless task
with no expectations whatsoever yet a very strong real force. Just like
philosophy, the opera pushes the audience to the very edge. With no indication
of where to go from there. It cannot be properly questioned nor can it be fully
understood. Yet it has something to do with us. It understands us.
The stage
continuously buzzes with activity, people, nuclear blasts, images, scientific
theories, trains, buses. But in the end everything disappears and there remain
just two.
Two on a bench talking about
love. Glass is trying to describe the duality of life. As the mythical
character Tomte explains to the philosopher in Strindberg’s play The Black
Glove:
And highest in the chain at the very top
You find duality, for it was not good for
man to be alone
And so came man and woman forth
And the duality of nature was confirmed.
One feels a
euphoric jubilation at the end of the opera. And then there is the craving for
more.