On Saturday, September 22nd, 2018 at high noon sharp Munich’s Chief Burgomaster – the Lord Mayor – will once again ceremonially exclaim: ‘It’s tapped!’ The Oktoberfest, a festival recurring for the 185th time, has been exerting its magnetism on the crowds since 1810. It means huge fun for regular folks, works as an illustrious place-to-be-seen for celebrities of all shapes and sizes and could even enhance or jog a career of one trade or another. And it serves as a welcome runway for the presentation of suitably traditional garb (such as Dirndl, Lederhosn or Lodenjanker) – or for a rare species of couture whose daring cross-over creations are at times hard to swallow for the more conservative. Read articleReading time: about 9 minutes
When shapely legs are swung high during the meticulously rehearsed Swan Lake performance, they are not made of flesh and blood. Nor, in fact, are any of the lissome corporal parts belonging to the remarkable cast exerting themselves on the miniature stage of the Lindau Marionette Opera (House): they are puppets on strings choreographed and directed with an expertise and finesse that leaves every audience open-mouthed with bafflement. And that doesn’t just account for the ballet troupe bobbing their tutus in tune with Tchaikovsky’s legendary piece of distinguished classical music: there’s Mozart, Verdi, Rossini, Strauss, Bizet and Humperdinck on the programme as well.
Yet, how is it accomplished that rigid images sculpted from wood seem to display credible emotions? Carving features adaptable enough to augment the illusion of changing mien is the craftsmanship their creators are excelling at.Reading time: about 3 minutes