Pygmalion © Saburo Teshigawara
An eternal beautiful danger that lives in the skin
A man sculptures. What does he make?
What the man searches in form, is already existing inside him.
The material becomes the form that the inner man desires.
Blood runs under the skin of the working man’s hand.
The lust hiding inside the man becomes his blood and runs through his hands.
What will be created, is already moving on the surface of the hand’s skin.
It will be the form of a woman.
His hand’s skin will give a surface = skin to the woman’s body to be sculpted and to be born.
The man’s skin and the created woman’s skin, touch.
The man cannot but love the woman who was created by eros as if caressing his own soul.
How could such a superficial yet profound and lustful love exist?
This love that can make others suffer, is a love for artificial skin, that the lover cannot understand.
A form covered by beautiful skin that the man desired and created.
The woman sculptured with deep lust, will live an eternal life with fateful and absolute love.
The imperfect perfect match of art and love.
Nothing could be so incomprehensive to another who cannot understand it.
There is no perfect art.
But there maybe a perfect beauty.
Only when it can be natural.
A dangerous love transforming from artificiality.
As if predicting a historical future.
( Saburo Teshigawara )
Première : 28 juillet 2018, Drottningholms Slottsteater, Stockholm (SE).
Opéra de Jean-Philippe Rameau
Livret : Sylvain Ballot de Sauvot
Direction musicale : Vittorio Ghielmi
Mise en scène, chorégraphie, décor, costumes et lumières : Saburo Teshigawara
Chanteurs : Anders J. Dahlin, Kerstin Avemo, Hanna Husáhr, Silvia Moi
Danseurs : Saburo Teshigawara, Rihoko Sato, Quentin Roger
Orchestre et chœur du Drottningholms Slottsteater
