Theatre Design & Technology - Fall 2014 - (Page 15)
revivals he feels that too much of the discussion necessarily
centers on "how to do it differently. There are no big questions
[to answer]." However, he has designed numerous revivals;
the important thing for him is the designer's rapport with the
director and finding a strong vision for the production. "For
me the best thing is to do a great production with an interesting
director." Surprisingly, given the large percentage of his career
that has been in opera, this production is Jara's first time
designing Carmen.
Director Stephen Lawless decided to transpose the classic
opera to a context more relevant to the local audience-the
United States-Mexican border. Jara and the other members of
the design team-scenic designer Benoit Dugardyn, lighting
designer Pat Collins, and projection designer Jon Driscoll-
developed an updated mid-twentieth-century take on the world
of bullfighting and smugglers, bringing in human trafficking and other contemporary references. Jara used the 1950s
as his basic silhouette because it gave the right feeling for the
production, but he did not limit himself to a specific period
look. He utilized strong colors for emphasis-blue uniforms
for the tobacco workers, splashes of yellow in the chorus, and
a spectacular green, fringed leather jacket for Escamillo. And of
course red-it is Carmen, after all. Although, in fact, the look
Jara created for Carmen's slinky nightclub dress is yards upon
yards of ruffles in a startling shade of fuchsia.
To create his retro border aesthetic, Jara created his own
mélange from an eclectic collection of research. Rockabilly's
mixture of modern and vintage provided a helpful starting point
and a guide to the integration of western wear like boots, hats,
and bolo ties. He also drew influence from films of the 1950s
and '60s, as well as from screen sirens of the period like Sophia
Lauren. While no one particular film inspired the look, he
gravitated to cinema as inspiration for the realistic yet larger than
life visuals. But the production team didn't limit their research to
that era. The director thought the life of Amy Winehouse provided
insight into Carmen's story, and both the costume designer and
the singer drew inspiration from her persona.
The idea for the Skeleton Dancer grew from Jara's love of
Mexican culture. The skeleton half of the costume references
the Day of the Dead tradition. "It's a poetic way to show all the
confusion of the heart visually," Jara said. "We see her from
one side as a Spanish dancer, then she turns." He explained
that half-and-half costumes come from a vaudeville tradition,
although it is typically a half-male, half-female character. He
thought this dual idea would work well for a figure of death,
and as the multi-lingual designer pointed out, the word for
death is feminine in Spanish, French, and German. When asked
why he chose yellow for this design, he shrugged and replied,
"I think of the colors as a whole." Certainly the Skeleton Dancer becomes a striking figure, and the yellow draws attention as
she parades in profile before a projection on the scenery of the
bullfighters' procession. She then turns, revealing the figure of
death that had been facing upstage.
DRaPER: Bineke Fokkens Kiernan
photos by mitch wilson
The Sante Fe Opera draper, Bineke Fokkens Kiernan, felt that
Jara's sketch was quite clear, and she was able to start on a
mock-up with minimal input from the designer. She had
already draped ruffled dresses for the characters of Frasquita
and Mércèdes, and her prior discussions with Jara gave her a
good frame of reference for the flamenco half of the Skeleton
Bineke Kiernan making adjustments to the waspy.
Closeup of the skeleton side of the costume.
Adding in yellow skirt panel during the fitting with Kiernan and Jara.
f
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2014
theatre design
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15
Theatre Design & Technology - Fall 2014
Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2014
Contents
Theatre Design & Technology - Fall 2014 - BB1
Theatre Design & Technology - Fall 2014 - BB2
Theatre Design & Technology - Fall 2014 - Cover1
Theatre Design & Technology - Fall 2014 - Cover2
Theatre Design & Technology - Fall 2014 - 1
Theatre Design & Technology - Fall 2014 - 2
Theatre Design & Technology - Fall 2014 - Contents
Theatre Design & Technology - Fall 2014 - 4
Theatre Design & Technology - Fall 2014 - 5
Theatre Design & Technology - Fall 2014 - 6
Theatre Design & Technology - Fall 2014 - 7
Theatre Design & Technology - Fall 2014 - 8
Theatre Design & Technology - Fall 2014 - 9
Theatre Design & Technology - Fall 2014 - 10
Theatre Design & Technology - Fall 2014 - 11
Theatre Design & Technology - Fall 2014 - 12
Theatre Design & Technology - Fall 2014 - 13
Theatre Design & Technology - Fall 2014 - 14
Theatre Design & Technology - Fall 2014 - 15
Theatre Design & Technology - Fall 2014 - 16
Theatre Design & Technology - Fall 2014 - 17
Theatre Design & Technology - Fall 2014 - 18
Theatre Design & Technology - Fall 2014 - 19
Theatre Design & Technology - Fall 2014 - 20
Theatre Design & Technology - Fall 2014 - 21
Theatre Design & Technology - Fall 2014 - 22
Theatre Design & Technology - Fall 2014 - 23
Theatre Design & Technology - Fall 2014 - 24
Theatre Design & Technology - Fall 2014 - 25
Theatre Design & Technology - Fall 2014 - 26
Theatre Design & Technology - Fall 2014 - 27
Theatre Design & Technology - Fall 2014 - 28
Theatre Design & Technology - Fall 2014 - 29
Theatre Design & Technology - Fall 2014 - 30
Theatre Design & Technology - Fall 2014 - 31
Theatre Design & Technology - Fall 2014 - 32
Theatre Design & Technology - Fall 2014 - 33
Theatre Design & Technology - Fall 2014 - 34
Theatre Design & Technology - Fall 2014 - 35
Theatre Design & Technology - Fall 2014 - 36
Theatre Design & Technology - Fall 2014 - 37
Theatre Design & Technology - Fall 2014 - 38
Theatre Design & Technology - Fall 2014 - 39
Theatre Design & Technology - Fall 2014 - 40
Theatre Design & Technology - Fall 2014 - 41
Theatre Design & Technology - Fall 2014 - 42
Theatre Design & Technology - Fall 2014 - 43
Theatre Design & Technology - Fall 2014 - 44
Theatre Design & Technology - Fall 2014 - 45
Theatre Design & Technology - Fall 2014 - 46
Theatre Design & Technology - Fall 2014 - 47
Theatre Design & Technology - Fall 2014 - 48
Theatre Design & Technology - Fall 2014 - 49
Theatre Design & Technology - Fall 2014 - 50
Theatre Design & Technology - Fall 2014 - 51
Theatre Design & Technology - Fall 2014 - 52
Theatre Design & Technology - Fall 2014 - 53
Theatre Design & Technology - Fall 2014 - 54
Theatre Design & Technology - Fall 2014 - 55
Theatre Design & Technology - Fall 2014 - 56
Theatre Design & Technology - Fall 2014 - 57
Theatre Design & Technology - Fall 2014 - 58
Theatre Design & Technology - Fall 2014 - 59
Theatre Design & Technology - Fall 2014 - 60
Theatre Design & Technology - Fall 2014 - 61
Theatre Design & Technology - Fall 2014 - 62
Theatre Design & Technology - Fall 2014 - 63
Theatre Design & Technology - Fall 2014 - 64
Theatre Design & Technology - Fall 2014 - 65
Theatre Design & Technology - Fall 2014 - 66
Theatre Design & Technology - Fall 2014 - 67
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Theatre Design & Technology - Fall 2014 - 70
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Theatre Design & Technology - Fall 2014 - 73
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Theatre Design & Technology - Fall 2014 - 80
Theatre Design & Technology - Fall 2014 - Cover3
Theatre Design & Technology - Fall 2014 - Cover4
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