Anaesthesia, by Sonia Arienta

In an ill cultural system, audience anaesthesia becomes the unconscious or conscious “mission” towards embarrassing operas or even towards a genre (melodrama in this example). They are both “guilty”, infact, for encouraging questions and stimulating thoughts. In such a situation we can recognise, then, some choices involving set design and direction. So, this kinds of stage productions tame awkward contents with an involutional way, where also the space appears poor in value and meaning. Such a “destiny” we can especially see in work like La Traviata, often characterised by a glittered and silky packaging, or Aida, afflicted by stage productions obeying to an exoticism made of peacock’s feathers and Egyptology of papier-mâché. So, for instance, in the first example, we can see a generous number of stage productions where the two feasts in Violetta’s home and in Flora’s palace are used as a cue for a pleasant, high society sets, fit to nurse acritical and passive spectators…
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