Teatro de la Zarzuela, ''La Generala''


The sketch by Daniel Bianco which was used for the realization of the first scene, which takes place in the palace of the royal family in the imaginary town of Molavia.The sketch was used ...
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... for the built part of the scene, a classic Closed set, here in the scenography workshop during its realization ...
... and here on stage during the performance.And it was also used for the making ...
... of a framed BGO - Gobelin digital printing tulle backdrop with decorative motifs identical to those in stucco of the walls of the constructed scene.The parts that make up the backdrop are stretched here on the frame.Daniel Bianco used the tulle backdrop to create a fourth wall with variable transparency which ...
... thanks to the properties of tulle, has the possibility of becoming totally transparent.Or, with suitable frontal lighting, it will be able to acquire the appearance of a real wall, similar to the background wall of the built scene, of which it shows, digitally printed, the same architectural motifs.
Using scenographic tricks, Daniel Bianco has created the illusion that the action takes place inside a mansion made up of a succession of identical halls.The first hall, starting from the audience side, is the one that has the BGO - Gobelin digital printing tulle as a back wall.Two doors, opening on the tulle, give access to the built hall ...
... of which, with appropriate regulation of the lights on the backdrop, the interior can be seen in transparency, as happens in the instant in which this photograph was taken.Symmetrically, on the back wall of the built hall, two doors open onto a third hall, which in reality has not been built, but of which two other closed doors can be seen, which suggest that there is a fourth hall behind them similar to the previous ones.
The plot of La Generala, which follows the tortuous attempts to arrange a marriage of convenience for the son of the king of Molavia, including the plots of the enterprising wife of a general, does not lend itself in the least to a probable staging.This second scene therefore uses a merry-go-round, shown here in the course of its realization, which uses for the cover twelve trapezoids painted on ASC - Sceno muslin with cherubs, medallions and exotic animals ...
Operetta in two acts
Amadeo Vives (1871-1932)
Guillermo Perrín y Vico
Manuel de Palacios
First night
Madrid, Gran Teatro de Madrid, 14/6/1912

Costume design
Jesùs Ruiz
Light design
Eduardo Bravo (A.A.I.)
Nuria Castejón
Stage direction


Materials used in this production

ARI - Reps Ignitex

Muslin and canvas

ASC - Sceno

Muslin and canvas

ASL - Light Sceno

Sheer muslin

BGO - Gobelin digital printing

Printing on fabrics

Closed sets

Frames for stagecraft

FBR - Bruxelles

·Limited fabrics·

Stage maskings

Acoustic curtains

Information on data processing