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Freely inspired by the homonymous film by Ingmar Bergman, and by the myth of the female trinity Goddess ruling over Fate. The story deals with three sisters who get together to prepare for the imminent death of the youngest.The narrative is not linear and it dwells in the vanishing realms of memories and dreams.<\/p>\n
I have taken the idea of the plot in different directions, both reframing it in a Latin cultural context and diving into the mythic implications of the Hecate, three-fold entities known by many names, among them the Furies, Kindly Ones, Norns, Fates, Wicked Sisters, Dark Witches and White Goddess.<\/p>\n
What attracted me to the story was that it deals with the female triad in a situation that is normally not thought of the myth. Usually, the Fates are seen in interaction with the lives of others.\u00a0 Here we tell their own drama, as the three have to deal with death and loss among themselves.<\/p>\n
I have always been interested in feminine pagan spirituality, and the fascination these entities have exerted over high and popular cultures. The presence of the female trinity appears throughout the spectrum of artistic expression, from Aeschylus\u2019 \u201cAgamemnon,\u201d to Shakespeare\u2019s “Macbeth,” to DC Comics’ “The Witching Hour.<\/p>\n
I always felt this to be a great title for an opera.\u00a0 It gives a broad dynamic range for the voices, in all their somewhat triadic expression. Recently I found that Bergman himself appropriated the title from an essay about Mozart\u2019s opera.<\/p>\n
We share this connection with musical drama; from the liminal rituals of initiation to carnivals and opera, and then back to a place of magic, in the communion of the theatrical space.<\/p>\n
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\nPreview of A Ilha – Documentary by Lais Azeredo and Pedro Urano about Joao MacDowell’s work at the island of F\u00e5r\u00f6, working at Ingmar Bergman’s estate.<\/p>\n