MAXI BLAHA SPIELT EMILIE FLÖGE

EMILIE FLÖGE – GELIEBTE MUSE
In einem Theaterstück im Oberen Belvedere begibt sich Maxi Blaha auf die Spuren des It-Girls der Wiener Moderne, der Modepionierin und Geliebten Gustav Klimts: Emilie Flöge.
Schauspiel, Idee, Produktion: Maxi Blaha
Musik: Georg Buxhofer
Regie: Heidelinde Leutgöb
EMILIE FLÖGE – BELOVED MUSE
by Penny Black, 2018
for Maxi Blaha
on the centenary of the death of Gustav Klimt, 1918

REVIEWS
Maxi Blaha impresses in this elegant and passionate one-woman play! Blaha controls the material without falling into the trap of sentimentality…Blaha’s interpretation looks at the bigger picture, showing Flöge as an artist in her own right…(Canberra TIMES)
It’s an utterly elegant and passionate production of a piece that does not fall into the trap of trying to explain all. And Blaha carries the role and the clothes with a lovely humour and authority. It is very clear that Emilie Flöge was much more than Gustav Klimt’s muse. Blaha wears Flöge’s geometric black and white robes with enormous style and a superb period hairdo as she tells the story of her relationship with this man.(SYDNEY MORNING HERALD)
In this text written by Penny Black specifically for Maxi Blaha, Emilie Flöge wrestles with herself. She maintains she is an independent woman and successful fashion designer, which she was, and yet she still hangs lovingly onto Klimt the womaniser…. she is a business woman, a gesamtkunstwerk, an artist…The information value is just one aspect. As Flöge, Blaha is full of energy and bravura. Georg Buxhofer on bass accompanies her for the one-hour duration equally jauntily, sometimes joyously, sometimes sumptuously or sentimentally. ..The play cleverly mixes the external (both wars, the flight of her Jewish clientele following the Anschluss) and Flöge’s internal world. Heidelinde Leutgöb’s production does not superimpose any false pathos, it has wit, the right tempo, shifting moods. Bravo. (DER STANDARD)
Maxi Blaha, sparkling in the role of Klimt’s beloved. (KURIER)
…at the Savoy, a sardonic Maxi Blaha was inhabiting the psyche of Gustav Klimt’s partner, Emilie Floge, in Beloved Muse in front of a full house…(Otago Daily Times, New Zealand)
…Maxi Blaha reveals the many sides of this relationship. She cleverly changes the mood – from grievance to friendly memories and back again. In this way a series of sketches are created, you could call it a text collage, and it remains enthralling until the end. The idea came from Maxi Blaha, the text is by Penny Black. And not to forget Georg Buxhofer’s delicate accompaniment on the guitar. All in all, a harmonious evening. …Enter Viennese actress, Maxi Blaha, a vision of elegant composure, statuesque in her diaphanous dress, autocratic with her hair piled high in fashionable style, gracefully moving across the patterned carpet to sit on the low wooden bench.
Blaha is the ideal vision of Klimt´s model, muse and intellectual partner of twenty seven years, Emilie Flöge- ….reveals a feminist of strong convictions, confronting and challenging convention. Blaha presents a woman, capable of jealousy, loyal and devoted resourceful and strongly opinionated. She criticizes Klimt´s misogynistic view of the lovers in „The Kiss“ with the woman in a suppliant pose while the dominant male figute hovers over her. Blaha invites the audience to look beyond the image to glean a deeper meaning in a performance that is as though provoking as it is illuminating and entertaining.
Klimt´s muse is the muse for all society, and Maxi Blaha is the perfect woman to bring Emilie Flöge to the world. (CANBERRA CRITICS CIRCLE, Australia)
Beloved Muse – Emilie Flöge reveals a feminist of strong convictions, confronting and challenging convention. Blaha presents a woman, capable of jealousy, loyal and devoted, resourceful and strongly opinionated. She criticizes Klimt’s misogynistic view of the lovers in The Kiss with the woman in a suppliant pose while the dominant male figure hovers over her. Blaha invites the audience to look beyond the image to glean a deeper meaning in a performance that is as thought provoking as it is illuminating and entertaining…Director Heidelinde Leutgöb uses this build up of tension perfectly and integrates the events into the space. For example, when Flöge stands at the window and looks down into the darkness of the park and sings of her loneliness. Or when she opens the heavy wooden doors to the exhibition halls and rolls the famous image of The Kiss into the room. (A copy, of course, the idea is great!)… This correspondence – including letters that Gustav Klimt sent to her – forms the basis of British writer Penny Black’s one-person show entitled “Emilie Flöge – Beloved Muse” playing in the fabulous and authentic ambience of the Marble Hall at the Upper Belvedere. Of course, at the heart of the piece is The Kiss, which Maxi Blaha, as Emilie Flöge, uses to exchange ideas with Klimt. Along the way Blaha reveals astonishing and lesser known information about the lively love life of the painter. Blaha is accompanied in this dramatized double portrait of Flöge and Klimt by a musician, Georg Buxhofer: mysterious notes from his bass guitar underpin the thoughts of this woman who viewed herself as equal to the genius painter.
5月17日、演劇公演「エミーリエ・フレーゲ 愛されたミューズ EMILIE FLÖGE – GELIEBTE MUSE von Penny Black」を開催しました。
本展の目玉作品であるグスタフ・クリムト《エミーリエ・フレーゲの肖像》のモデルはどのような女性だったのか— 演じたのはオーストリアの女優マキシ・ブラーハさん。
エミーリエのオリジナルの洋服型紙を元に再制作された衣装に身を包み、一人芝居形式で演じました。オーストリア各地ほか、パリ、ロンドンやニューヨークでも絶賛された演目の日本初上演となりました。
クリムトが死の床で「ミディ(=エミーリエ)を呼んでくれ」と言ったことを、エミーリエ自身が回想する場面から、物語は始まります。
クリムトとエミーリエの出会いは遅くとも1891年、クリムトの弟エルンストとエミーリエの姉ヘレーネの結婚したとき、クリムト29歳、エミーリエ17歳のときです。
その後、エルンストが若くして亡くなると、クリムトはまだ幼い姪の後見人となり、クリムト家とフレーゲ家の関係は一層強いものになりました。クリムトとエミーリエは、家族で幾度もの夏をアッター湖で過ごします。その様子を収めた当時の写真を、本展にも出品しています。
エミーリエ・フレーゲは、ウィーンで2人の姉とともに最先端のモード・サロンを経営する聡明な企業家でした。女性が結婚をせず、経済的に自立していたことは、当時としては非常に珍しいことでした。

それゆえに、2人は互いを尊敬しあい、精神的にも経済的にも自立したパートナー、という関係を築いていきました。
「私は一度だって祭り上げられたことがないし、彼は一瞬たりとも私を崇拝しなかった。私たちは対等なパートナー、私たちは友情や家族、商売、それに愛情によって一つの網に織り込まれていたのよ。」
3姉妹の出発点は、下女のエプロンの改良でした。
そこからエミーリエたちは、女性たちをコルセットから解放する「改良服(リフォームドレス)」を販売するなどして、最盛期には80人ものお針子を抱えるほど事業を成功させていきます。
「このドレスを身に纏えば何でもできる、どんな男性とも肩を並べられる。森を歩きまわり、ボートに乗り込み、どんな椅子でも快適に座れる。」
ところで、《エミーリエ・フレーゲの肖像》は1903 年に開催された第18 回分離派展で初めて展示され、多くの好意的な評価を受けますが、当の本人はこの絵を気に入っておらず、1908年に売却してしまいます。
グスタフ・クリムト《エミーリエ・フレーゲの肖像》
1902年 ウィーン・ミュージアム蔵
物語では、エミーリエは青いドレスを気に入っていなかった、と表現されています。
実際にエミーリエはどの点が気に入っていなかったかはわかりませんが、エミーリエはキャリアのある女性実業家としてではなく、美しくも退屈なウィーン社会の淑女として描かれることを望んでいたのかもしれません。
「いったいどうしたら私を置いてさっさと死ぬなんてできたの?この病院のベッドで髭もなく、頬がこけて、消毒薬の臭いが充満して、あなたの匂い、あなたの香り、あなた自身は — 消えてしまった。」
エミーリエはクリムトのことを回想しながら、アトリエを整理していきます。そして、自分に関係するものをすべて捨ててしまいます。
最後に、この先に起こる戦争によって、フレーゲ姉妹のサロンは店を閉じ、自分たちの痕跡が消えていくことを暗示して、舞台は幕を閉じます。
マキシ・ブラーハさんは、時に歌を交えながら情熱的にエミーリエを熱演。会場全体が、ブラーハさんが作る世界観に包まれました。
エミーリエ・フレーゲとクリムトの関係を知ると、また作品の見方が変わってくるかもしれません。一度ご覧になった方も、「エミーリエ来日中」のこの機会に、ぜひ再度本展へ足をお運びください。
(Artexhibition, Japan) NATIONAL ART CENTRE TOKYO


New York: 12.7., 13.7.
Canberra, Australien: 10.-16.9.
Dunedin, Neuseeland: 21.-23.9.
Melbourne, Australien: 24.-26.9.
Zusatztermine Belvedere: 2.10., 16.10., 13.11., 15.11., 20.11., 27.11., 29.11., 4.12.
Villach: 6.11.
Halle/Saale (D): 30.11. (MUSEUM MORITZBURG, KLIMT 2018)
Paris: 6.12. (MAISON HEINRICH HEINE)
London: 23.-26.1.2019 (ACF, Barbican, Royal Academy)
Arnulf Rainer Museum, Baden: 20. März
Japan: 17. Mai TOKIO, 18. Mai NAGOYA, 21. MAi NARA
Washington & Kanada: September 2019
Schloß Artstetten: 19.10.2019
Emilie Flöge (1874-1952), reformist fashion designer and one of the Flöge Sisters who ran a hugely successful fashion salon; she was also life companion to Gustav Klimt and an integral part of Vienna’s fin de siècle art movement. Those are the facts, but who was Emilie Flöge really? Beloved Muse re-imagines the part of Emilie’s life that she deliberately burnt, and rescues a radical and extraordinary woman from the ashes.

Maxi Blaha, an actress renouned for her sensitive portrayals of Austrian female icons (e.g. Bertha von Suttner, Elfriede Jelinek, Ingeborg Bachmann) in her acting utilizes original props initially owned by Flöge and Klimt, her musical partner on stage accompanies her on the E-Bass.

MaxiBlaha_Spiegelbild1_180616_2

ES GIBT MICH NUR IM SPIEGELBILD
Bachmann | Jelinek
Szenische Uraufführung mit Musik
„Hier wird kaum von einer Biographie die Rede sein, eine Biographie ist ein zu weiches Bett für die Werke der Bachmann, und ein solches Bett steht uns nicht zu.“ ELFRIEDE JELINEK
Reviews:

“I exist only in the reflection”: premiere rewarded with plenty of applause.
“Jelinek’s virtuously artful text converted into 55 minutes of intense stage delight.”
“The very amusing contrast between strenuous intellectual labour and quite “profane” household chores an the insatiable desire to lead a “normal” life…….
All that (and a lot more) Blaha concentrates with urgency and at the same time “playfully” under M. Gredler’s direction a double Portrait of two most exceptional Austrian writers intensively and well worth seeing.”
„Blaha performed the monologue with sovereignty and intensive stage presence”
“Not even an hour, and it is all over. One feels almost short taken.”

Maxi Blaha, actress
Born and raised in Vienna, Austria. Graduation at the University of performing Arts and the Schauspielschule Krauss in Vienna, Mozarteum Salzburg Masterclasses. Member oft the Wiener Burgtheater Ensemble and many other well known theatres all over Germany and Austria. She has worked with renowned directors like Giorgio Strehler, Andre Heller, Achim Benning, Paulus Manker and played more than 50 main characters in theatre plays. (Goethe, Schiller, Jelinek, Shakespeare, Kleist, Bernhard…).
Maxi Blaha has released 7 Solo-CDs and toured with her jazz/literature programmes and solo plays all over Europe, USA, Australia, NZ, India, Iran, Japan.