Page 20 - Programme

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Opera Interactively Into Schools

Costume, set, We tried to adapt to the standards of the places where the
performance would be staged so as to make it functional.
and video, Therefore, we took into consideration the average
measurements concerning the dimensions of the halls
animation, where the work could be presented and followed that line
throughout the planning phase. With these standards, set,
designer’s note musical ensemble, musical instruments, and screens, we
managed to make use of the available space and meet
the requirements of the production, while also ensuring
the possibility to move it. We also kept two versions of the
set, as far as its height is concerned, adding or removing
– depending on the height of the halls – a part of the main
structure of the mast, from which the screens are hung.

The work presents two separate worlds that are nevertheless
interconnected. On the one side there is the analog world
that is material, palpable, with the soloists, scenography
and costumes, and on the other hand there is the digital
world of animations and videos. These two worlds permeate
each other in a relationship of constant translation. Just like
the translation relationship between analog and digital that
develops every time we talk on the mobile phone, write an
email, watch TV, browse the internet or listen to music. This
has been the central concept of my contribution to this work.
My references are rooted in the world of Japanese anime,
which has been the most explosive and perhaps most radical
genre of the performing arts in the international cultural
production over the last twenty-five years. Instead of being
defined as a version of national cinema, anime is a global
movement with political, economic, social, technological
and aesthetic considerations, and with insightful comments
on gender identity and the perception of the body as an
enlarged social, political and ecological field.