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F Almost 15 years ago, director Pierre Audi rocked heaven and earth in the obscure and existential Baroque Zoroastrian opera of Jean-Philippe Rameau at the Drottningholm Theater. When the theater now invites the all-Japanese artist Saburo Teshigawara to discover the "Pygmalion", a lighter piece, replacing the bags of the theater style with aerial dance, he should look like a king. Transformation numbers in Ovidius's "Metamorphoses" such as "Pygmalion" are included in telling a time when man lived in symbiosis with the gods and nature – a symbiosis that remains alive for Teshigawara . So why does not his interpretation of the myths of archetypal beauty convince?
When Saburo Teshigawara in the new prologue of "Pygmalion" shines warm air on the Drottningholm theater stage with a rotating body and virtuoso hands – the vibrant air of Viola da Gamban's melancholy – it's like an image of the dream. But also a photo of Pygmalion, which evokes the art of interaction with love. The scene image is a Roman temple, and the woman, the dancer Rihoko Sato, a whirlwind of movement, who at the last image of the prologue meets its creator.
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