in the time of the composition, with a critical view of the time's capitalism, industrialism and spiritual background. As Büning and others pointed out, the staging left a standard for productions of the Ring Cycle to follow. Gerhard R. Koch mentioned in his obituary that the unity of direction, scene and light was new for Bayreuth and suggested a critical view on capitalism heading towards fascism. In 1977, when heldentenor René Kollo had broken his leg, Chereau acted the role of Siegfried on stage while Kollo sang from the wings. The Ring production, filmed for television in 1980, initially provoked controversy, but was celebrated after its final performance in 1980 with a 45-minute standing ovation. Chéreau disliked grand opera, but said: "After Bayreuth, I felt the need to work on a theatrical project of some breadth ... I have never put on little things. I am interested only in spectacles that rise above themselves". He first considered Goethe's Faust but then directed in 1981 Henrik Ibsen's Peer Gynt for Villeurbane and Paris, aiming at "an incandescence of theatrical experience, a global spectacle". 1979: Paris Chéreau directed the first performance of the three-act version of Alban Berg's Lulu, completed by Friedrich Cerha, at the Paris Opera on 24 February 1979, again conducted by Boulez and with sets by Peduzzi, with Teresa Stratas singing the title role. The scene is set in the time of the composition, around 1930. Koch observes frequent topics of hunt, and love colder than death (Verfolger und Verfolgte, und Liebe ... kälter als der Tod). Dr. Schön, a powerful newspaper manager, is reminiscent of supporters of Hitler. 1982: Amandiers From 1982, Chéreau was director of "his own stage" at the Théâtre Nanterre-Amandiers at Nanterre. In 1981 already he staged there Ibsen's Peer Gynt. He was the first to show several plays by Bernard-Marie Koltès, including and (1985), (1986) and (1988). He directed Marivaux' La Fausse suivante in 1985 and Shakespeare's Hamlet in 1989, also works by Jean Genet, Heiner Müller and Jean Racine. He staged Mozart's Lucio Silla in 1984, for Amandiers, but also for La Monnaie and La Scala. At the Odéon he staged in 1992 Le Temps et la Chambre by Botho Strauss. He directed Dans la solitude des champs de coton again in 1995, shown at Ivry, the Wiener Festwochen and the Brooklyn Academy of Music. He staged in 2011 Jon Fosse's Je suis