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They belong to the theatrical tradition, which chooses religious themes and elaborates them from a cosmic aspect. Both of them have the peculiarity to exist between symbolism and surrealism. The plot in the play ''Chronicles of Hell'' refers to the battle between the animal and the corruptive forces. The forces of wear refer to the clergymen, in the closed society of the priests, somewhere in the Middle Ages, when the Clergy intervened in the social life of the people.
The writer personalizes the seven deadly sins, through seven priests who are in an ethical degradation. Central points of reference in the contemporary society is the morbid submission of the feelings of fear and guilt in human caused by the family and religion, the unmasking of the ethical decay of the Clergy men and the denunciation of a lost religious faith.
A heavy atmosphere exists in the whole play, which indicates the place of action but also the depths of the soul. It is about an adroit and vivid game upon the human personality and the fear of death. Performances Home Chronicles of Hell - Escorial. Playwright : Michel de Ghelderode. Translation : Kostis Skalioras. Director : Giannis Houvardas. Sets : Laloula Chrisikopoulou.
Costumes : Laloula Chrisikopoulou. Composition : Stefanos Vassileiadis.
Escorial : lyric drama in one act
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His works often deal with the extremes of human experience, from death and degradation to religious exaltation. He wrote plays and short stories, and was a noted letter writer. Michel de Ghelderode was born in Brussels , Belgium in Ghelderode became increasingly reclusive from onwards and was chronically ill with asthma during his late thirties.
Ghelderode: Seven Plays, Vol. 1
The Stage Escurial Michel de Ghelderode was part of that extraordinary explosion of European playwrights who blended wit, emotion and absurdity to make sense of the mad interwar years in which they lived. First performed in , this one-acter is typical of his obsessions - the gloomy yet romantic setting of the 16th-century court of the Spanish king Felipe II, pithy period language and characters pitted against each other in a mind-twisting endgame. As his queen lies dying, the King Andy McQuade engages his fool, Folial Geir Kjelland , in a battle of wits that turns from cerebral to physical, while the Monk Corin Rhys Jones attempts to bring an occasional reality to break up their bouts. Theirs is a remarkable performance that never lets up in intensity yet builds to a climax which leaves the onlookers as drained as the actors. But it is difficult to understand what audience director Victor Sobchak is aiming for. The dense, chivalric language is one obstacle. Ghelderode became increasingly reclusive from onwards and was chronically ill with asthma during his late thirties.
Michel de Ghelderode