Anxiety - a ‘feeling of worry, nervousness or unease about something with an uncertain outcome’ - is a human condition that seriously intrigues Catalan director Calixto Bieito. So much so, in fact, that it’s become the focus of his latest work - a co-commission with Birmingham Repertory Theatre and Holland Festival.
Making its debut at The REP next month and fusing drama and music - four actors and a string quartet - The String Quartet’s Guide To Sex And Anxiety explores where anxiety and depression come from, and how our ‘innermost thoughts wage battle with our artistic impulses’.
What’s On recently caught up with Calixto to talk about his latest production and his reputation as one of Europe’s most ambitious theatre directors...
“About three or four years ago, I was talking to The REP, who were asking me to come back and do another show. We started talking about how anxiety is affecting our lives. How all of us have a moment in our life where we ask existential questions: Why are we here? What is the sense of what we’re doing? Is it normal to have fear about our own death and have fear about losing the people we love?
“We now know that anxiety disorder is a very common issue and is affecting a lot of people for a lot of reasons - genetics or economics, for example. I thought, why not do a show about anxiety as an illness? A show about anxiety as an existential language. I decided this was an important issue to address, and in doing so, I think I’ve created a sort of symphonic poem.”
One could assume that a dark and weighty production awaits audiences at The REP. Calixto claims not. “It will be both dark and light because anxiety is not just about darkness. It’s humanistic. It’s a poem that has extreme beauty when combined with the music from the Heath Quartet.”
Award-winning British chamber ensemble the Heath Quartet will be at the forefront of the production. In addition to showcasing their musical prowess - performing string quartets by Beethoven and Ligeti - the quartet will also make their debut in an acting capacity.
“They are so passionate about the music, and this is our second collaboration. They will be on the stage all of the time. They are characters. They’re not just the orchestra making the soundtrack of the piece.”
Famous for his operatic productions - he’s worked with all of Europe’s major opera houses - Calixto’s repertoire is impressive but not always without criticism. His infamous staging of Macbeth (Barbican, 2003) and provocative interpretation of Verdi’s A Masked Ball were described by some as ‘scandalous’, with his use of illicit content referred to as ‘pornographic sensationalism’. Others have praised his work as ‘revelatory’.
“This is just the need of society to put a label on things and people. If people look at my curriculum, they’ll see that it includes a variety of different things and styles. I’m not always doing nudity or violence.
“I did Carmen, which was a spiritual show and nothing to do with nudity. I see myself like a painter, and sometimes I’m painting a nude. Nobody goes to a museum and says, ‘Oh my God, I want to destroy this picture of a woman because it’s full of nudity!’
“When you create a label, people may come to see my shows full of prejudices. They may know nothing about me but just go with what they’ve read and therefore have a very closed mind. I feel sorry for them.
“My Macbeth many years ago was full of violence, and a lot of people were scandalised. Now you have the new movie, which is full of violence, and people are used to it.”
Another label that seems to have attached itself to Calixto relates to his style as a director, which on occasion has seen him likened to Quentin Tarantino.
“I’m quite a humanistic director. I do so many different things and my style changes to fit whatever it is I’m doing. I get likened to Tarantino, but my style is nothing like Tarantino. You will never, ever read anything about me where I’m trying to get self-publicity. Nothing.
“I’m always very relaxed in rehearsals. I try to encourage an atmosphere of generosity, but at the same time, discipline. Everybody must feel that they’re a creative part of the project.”
While English scholar and author Robert Burton’s essay, Anatomy Of Melancholy (1621), and Byung-Chul Han’s The Burnout Society (2015), are documented influences on this current piece, Calixto cites numerous others who’ve had an effect on his work since his formative days in northern Spain, where he studied history of art and philology at university.
“When I was very young, I was influenced very much by Luis Bunuel, the filmmaker. Through art, Francisco Goya has been very strong for me for the lighting, and has influenced the way I light the stage. Music has played a big part too, especially the work of Ligeti, but I suppose my biggest influence is the human race. My work takes me to lots of places, and I’m constantly learning from my everyday environment and the people I meet.”
With his diary currently fully booked until 2023, does Calixto ever get anxious about his hefty workload?
“No. It’s a privilege to be doing what I do. I love my work very much, and I’m fortunate to work in the best opera houses and theatres on the continent.’
Home for Calixto is now Basel, on the border of Switzerland, Germany and France. His house overlooks the Rhine, and it’s this stretch of water that helps him relax and escape the everyday world. “I love to look at the flow and get lost in thought. It relaxes me a lot, and I also like to walk - both into the city or the forest nearby. I like to walk, and sometimes, if I can’t sleep, I’ll walk in the night. I’m a little bit boring, I think.”
Calixto is looking forward to returning to the Midlands this month - his last REP production, Forests, showed at the city’s Old Rep Theatre in 2012 whilst the Centenary Square venue was closed for renovation. “I have to confess that I like to work in Birmingham. They’re a good team at The REP!”
So what lasting impression does he hope to leave this time round? “I think the one thing I’d like audiences to take away is that you can share your anxieties with people. Maybe encourage them to talk about anxiety and our fears in society today.
“For me, I just want to produce the best show that I can, and share with the audience a fantastic poem.”
Anxiety - a ‘feeling of worry, nervousness or unease about something with an uncertain outcome’ - is a human condition that seriously intrigues Catalan director Calixto Bieito. So much so, in fact, that it’s become the focus of his latest work - a co-commission with Birmingham Repertory Theatre and Holland Festival.
Making its debut at The REP next month and fusing drama and music - four actors and a string quartet - The String Quartet’s Guide To Sex And Anxiety explores where anxiety and depression come from, and how our ‘innermost thoughts wage battle with our artistic impulses’.
What’s On recently caught up with Calixto to talk about his latest production and his reputation as one of Europe’s most ambitious theatre directors...
“About three or four years ago, I was talking to The REP, who were asking me to come back and do another show. We started talking about how anxiety is affecting our lives. How all of us have a moment in our life where we ask existential questions: Why are we here? What is the sense of what we’re doing? Is it normal to have fear about our own death and have fear about losing the people we love?
“We now know that anxiety disorder is a very common issue and is affecting a lot of people for a lot of reasons - genetics or economics, for example. I thought, why not do a show about anxiety as an illness? A show about anxiety as an existential language. I decided this was an important issue to address, and in doing so, I think I’ve created a sort of symphonic poem.”
One could assume that a dark and weighty production awaits audiences at The REP. Calixto claims not. “It will be both dark and light because anxiety is not just about darkness. It’s humanistic. It’s a poem that has extreme beauty when combined with the music from the Heath Quartet.”
Award-winning British chamber ensemble the Heath Quartet will be at the forefront of the production. In addition to showcasing their musical prowess - performing string quartets by Beethoven and Ligeti - the quartet will also make their debut in an acting capacity.
“They are so passionate about the music, and this is our second collaboration. They will be on the stage all of the time. They are characters. They’re not just the orchestra making the soundtrack of the piece.”
Famous for his operatic productions - he’s worked with all of Europe’s major opera houses - Calixto’s repertoire is impressive but not always without criticism. His infamous staging of Macbeth (Barbican, 2003) and provocative interpretation of Verdi’s A Masked Ball were described by some as ‘scandalous’, with his use of illicit content referred to as ‘pornographic sensationalism’. Others have praised his work as ‘revelatory’.
“This is just the need of society to put a label on things and people. If people look at my curriculum, they’ll see that it includes a variety of different things and styles. I’m not always doing nudity or violence.
“I did Carmen, which was a spiritual show and nothing to do with nudity. I see myself like a painter, and sometimes I’m painting a nude. Nobody goes to a museum and says, ‘Oh my God, I want to destroy this picture of a woman because it’s full of nudity!’
“When you create a label, people may come to see my shows full of prejudices. They may know nothing about me but just go with what they’ve read and therefore have a very closed mind. I feel sorry for them.
“My Macbeth many years ago was full of violence, and a lot of people were scandalised. Now you have the new movie, which is full of violence, and people are used to it.”
Another label that seems to have attached itself to Calixto relates to his style as a director, which on occasion has seen him likened to Quentin Tarantino.
“I’m quite a humanistic director. I do so many different things and my style changes to fit whatever it is I’m doing. I get likened to Tarantino, but my style is nothing like Tarantino. You will never, ever read anything about me where I’m trying to get self-publicity. Nothing.
“I’m always very relaxed in rehearsals. I try to encourage an atmosphere of generosity, but at the same time, discipline. Everybody must feel that they’re a creative part of the project.”
While English scholar and author Robert Burton’s essay, Anatomy Of Melancholy (1621), and Byung-Chul Han’s The Burnout Society (2015), are documented influences on this current piece, Calixto cites numerous others who’ve had an effect on his work since his formative days in northern Spain, where he studied history of art and philology at university.
“When I was very young, I was influenced very much by Luis Bunuel, the filmmaker. Through art, Francisco Goya has been very strong for me for the lighting, and has influenced the way I light the stage. Music has played a big part too, especially the work of Ligeti, but I suppose my biggest influence is the human race. My work takes me to lots of places, and I’m constantly learning from my everyday environment and the people I meet.”
With his diary currently fully booked until 2023, does Calixto ever get anxious about his hefty workload?
“No. It’s a privilege to be doing what I do. I love my work very much, and I’m fortunate to work in the best opera houses and theatres on the continent.’
Home for Calixto is now Basel, on the border of Switzerland, Germany and France. His house overlooks the Rhine, and it’s this stretch of water that helps him relax and escape the everyday world. “I love to look at the flow and get lost in thought. It relaxes me a lot, and I also like to walk - both into the city or the forest nearby. I like to walk, and sometimes, if I can’t sleep, I’ll walk in the night. I’m a little bit boring, I think.”
Calixto is looking forward to returning to the Midlands this month - his last REP production, Forests, showed at the city’s Old Rep Theatre in 2012 whilst the Centenary Square venue was closed for renovation. “I have to confess that I like to work in Birmingham. They’re a good team at The REP!”
So what lasting impression does he hope to leave this time round? “I think the one thing I’d like audiences to take away is that you can share your anxieties with people. Maybe encourage them to talk about anxiety and our fears in society today.
“For me, I just want to produce the best show that I can, and share with the audience a fantastic poem.”
The String Quartet’s Guide To Sex And Anxiety shows at Birmingham Repertory Theatre from Saturday 12 to Saturday 19 May.