afterWARds

INITIAL SCENIC RESEARCH & IDEAS

6.1.18 CF
afterWARds INITIAL SCENIC RESEARCH & IDEAS – EMOTIONAL RESEARCH 6.1.18 CF
afterWARds INITIAL SCENIC RESEARCH & IDEAS – EMOTIONAL RESEARCH 6.1.18 CF
afterWARds INITIAL SCENIC RESEARCH & IDEAS – EMOTIONAL RESEARCH 6.1.18 CF
afterWARds INITIAL SCENIC RESEARCH & IDEAS – LOCATION RESEARCH 6.1.18 CF
afterWARds INITIAL SCENIC RESEARCH & IDEAS – HISTORICAL RESEARCH 6.1.18 CF
afterWARds INITIAL SCENIC RESEARCH & IDEAS – HISTORICAL RESEARCH 6.1.18 CF
afterWARds INITIAL SCENIC RESEARCH & IDEAS – HISTORICAL RESEARCH 6.1.18 CF
afterWARds INITIAL SCENIC RESEARCH & IDEAS – HISTORICAL RESEARCH 6.1.18 CF
afterWARds INITIAL SCENIC RESEARCH & IDEAS – SHIPWRECK RESEARCH 6.1.18 CF
afterWARds INITIAL SCENIC RESEARCH & IDEAS – SHIPWRECK RESEARCH 6.1.18 CF
afterWARds INITIAL SCENIC RESEARCH & IDEAS – PERIOD SHIP RESEARCH 6.1.18 CF
afterWARds INITIAL SCENIC RESEARCH & IDEAS – REFUGEE SHELTER RESEARCH 6.1.18 CF
 So!

Hopefully that shows you a little bit of where I am currently thinking – I’d love to see any images that
inspired you too 

GOALS FROM OUR INTITAL CONVERSATION:

- Establish the war so its traumatic aftereffects can be highlighted

- Connect to the current refugee crisis in Greece
- Prefer non-literal nod to Ancient Crete
- Find a solution for people washing up on an island
- Create an environment that will collaborate effectively with media to create the storms.
- Strive for fluid transitions between location

WHAT I’M THINKING ABOUT:

How do I create an environment that acknowledges IDOMENEO’s setting of Ancient Crete, establishes the
backstory of the Trojan War, while creating an abstracted/physiological space that amplifies the
universality of this opera’s message about the long-lingering aftereffects of trauma?

afterWARds INITIAL SCENIC RESEARCH & IDEAS – WHAT I’M THINKING ABOUJT 6.1.18 CF
 First Idea:

I wonder about having the remains of a shipwreck that washed

ashore and having that structure also serve as the make-shift
shelter. I’m drawn to parts of a ship sticking out right out of the
floor. I found this image of a shoe and it inspired me to think
about Painting the floor similarly – abstract watery blues with a
high gloss finish. I think it could be evocative and surreal – the
space has a rather large trap so it could even come out of the
trap across the mid-3/4 of the stage.

HELMETS

afterWARds INITIAL SCENIC RESEARCH & IDEAS – FIRST INSTINCTS 6.1.18 CF

 2nd Idea

I am drawn to the idea of all of those who were lost in the war
and consider representing them by covering the stage in
helmets. The copper helmets would verdigris in the ocean and
that terrific color could help them also serve as the turquoise
water surrounding Crete. The piles of helmets could form the
shelter (almost like a cave) and could potentially in a pivotal
moment be used like this fun image of shadow found object
shadow puppetry – maybe during the second storm the
shadow of Neptune forms.
Maybe it is a
Raked platform HELMETS
Surrounded
by/supported by
helmets or
HELMETS perhaps there is
some architecture
involved.
HELMETS

afterWARds INITIAL SCENIC RESEARCH & IDEAS – FIRST INSTINCTS 6.1.18 CF

 Third Idea –

What if things are more abstracted?

Maybe the entire stage is covered in 2 ft of water? I saw this image from a TRESemme runway show and thought it was
actually fascinating. I love having LEDs line the edge and give that glow to the rippling water. Maybe there is an event in
the prologue where a wall falls down spilling water
and the singers into the space. The wall could have an
animated mosaic telling the backstory.

HELMETS

afterWARds INITIAL SCENIC RESEARCH & IDEAS – FIRST INSTINCTS 6.1.18 CF

 After those three initial ideas, I went back and synthesized
what was appealing about each and came up with this concept
which I think could be exciting to explore.

I looked to the shipwrecks as a metaphor for what is left over

after War ends, and was caught by the discovery that the iconic
sails of ancient warships have marked similarly to the tarps
used to create modern refugee shelters. Excited by this
connection, I began exploring how the ship sail could transform
into the shelter and the other locations in afterWARds.

I see a war-tattered cotton sail that spans the entire stage that
is connected to a series of ropes on pulleys which allow the
large piece of fabric to form different shapes.

I envision that we start with the fabric spanning the

proscenium like a show curtain which could take projection to
start our “Prologue” and when the prologue shifts to
incorporating live actors – the sail could get pulled to a mid
height and billow like dramatic ocean storm waves. We could
use light to color the area under the sail to make it further read
as ocean.

afterWARds INITIAL SCENIC RESEARCH & IDEAS – FIRST ITERATION 6.1.18 CF

 cont’d

I can see the sail using as the Crete shore and clouds – this
might be great for the port scene and Idamante’s initially
reintroduction to Idomeneo (when he washes ashore.)

Certainly not solidified on any of this yet – but here is a stab at

how the sail could transform into the shelter.

When Ilia addresses Idomeneo as her father, I wonder where

we are. I am curious about establishing a palace or great hall
location. Perhaps the sail lifts all the way up creating the
appearance of a grand ceiling.

I’m excited by the transformative ability of this idea and how it

could create a wide range of interesting moments especially
when coupled with lighting and media.

Excited to talk about all of this with you 

Christian

afterWARds INITIAL SCENIC RESEARCH & IDEAS – FIRST ITERATION 6.1.18 CF