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Teatro Verdi, ''Iris''

Trieste

The installation, in the consistent series of collaborations among Federico Tiezzi and the scenographer of Trieste Pier Paolo Bisleri, had «... the main worth to appropriate of a work with a scabrous dramaturgy, to propose it in a key of stimulating reading in which the exoticism of the original is revisited so that to return it to the sensibility of today's spectator using styles and images of a Far East more next to us.» Rino Alessi, from L'opera, n. 224, pages 32 and 33. The background of green light of the scene is obtainded with the use of a Rear-illuminated backdrop realized with the film for rear-projections RNV - Nevada.
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Backdrop made of HRT - Rasetto Texturé with Digital printing. The critics generally pointed out this Iris as one of the best results in stage direction of the director of Il Carrozzone, that, thanks to the scenes by Pier Paolo Bisleri and to the costumes by Giovanna Buzzi, released the installation from the easy liberty decorations without excluding «... winks to the world of the manga comic strips or to other expressive formulas that, with an incessant rhythm, come up to us from distant Japan. Everything is a game of cross-references and contaminations, the one we see in the show [ ... ] that has its stylistic figure really in his acclaimed unhomogeneity.» Rino Alessi, from L'opera, ibidem.
The choir of the opening scene, an aurora in which Bisleri stylizes the dawning sun with a round panel covered with the film for rear-projection RPA - Panorama on a sky background realized with a Rear-illuminated backdrop made of the same material.The sun develops in Iris a primary symbolic role - the Inno del sole (Hymn of the sun) is one of the most meaningful moments of the opera. For the protagonist, a simple girl that finds more understanding in the elements of the nature that among his similar, its light is one of the few reasons of joy of her life.With the rear-illumination of the backdrop and the frontal one of the circle and of the wings of the stage masking, also covered with RPA - Panorama, the scenography gets several independent levels of adjustment of the chromatic tonalities and light's intensity.
And here, note an example in which one can clearly separate three levels of illumination: the image of the irises and the protagonist, in the foreground, are enjoying of a middle cut illumination that makes them detach from the back-lighted disk of the sun, in the middle distance, that is made become black on the background of the rear-illuminated backdrop.
The grey atmosphere of the Rear-illuminated backdrop is opposed here with violence by the orange lights frontally projected on the wings covered with the film RPA - Panorama, with an effect that mirrors the as many marked chromatic contrasts that have been chosen for the costumes.A small backdrop made of BGO - Gobelin, that brings painted Japanese ideograms, is suspended in transparency in front of the RPA - Panorama backdrop.
The final scene in which Iris, victim of the egoism that surrounds her, dies caressed by the sun, that turns her body into the flower that brings her name.«The work done with Iris is the confirmation of the axiom that I face at every new job: nothing is more difficul, in a scenographical project, of the search of the simplicity», says Pier Paolo Bisleri.«Naturally I don't intend an illustrative simplicity only, but one coherent to the stage direction and dense of exchanges with the text and the music. To witness it, it's enough to verify how much it is easier to overload that to reduce to the least terms, and how much it is easier to use the technichal media in comparison to the conceptual ones. In our job, the biggest difficulties are met when one inspires himself to Bob Wilson, not to the Baroque or to the Realism.»
The installation, in the consistent series of collaborations among Federico Tiezzi and the scenographer of Trieste Pier Paolo Bisleri, had «... the main worth to appropriate of a work with a scabrous dramaturgy, to propose it in a key of stimulating reading in which the exoticism of the original is revisited so that to return it to the sensibility of today's spectator using styles and images of a Far East more next to us.» Rino Alessi, from L'opera, n. 224, pages 32 and 33. The background of green light of the scene is obtainded with the use of a Rear-illuminated backdrop realized with the film for rear-projections RNV - Nevada.
Opera in three acts
Music
Pietro Mascagni (1863-1945)
Libretto
First night
Rome, Teatro dell'Opera, 22/11/1898

Scenography
Pier Paolo Bisleri
Costume design
Giovanna Buzzi
Scenographical workshop direction
Giampiero Ferlan
Light design
Iuraj Saleri
Choreography
Virgilio Sieni
Stage direction

Staging
Co-production
Season
2007/2008

See also ...

ASC - Sceno

Muslin and canvas

BGO - Gobelin

Scrim and bobbinet fabrics

CPA - Boccascena

Duvetyne and blackout fabrics

Flat making

Fabric: typologies of workmanships

Rear-illuminated backdrops

Vinyl backdrops: typologies

RNV - Nevada

Rear-projection films