CRAVE

CRAVE by Sarah Kane
with:Gabriele Colferai, Dacia D'Acunto, Gabriele Guerra, Morena Rastelli
Director:Pierpaolo Sepe
Scene/Set Design:Francesco Ghisu
Costume Design:Annapaola Brancia d'Apricena
Light design:Cesare Accetta
Movements:Chiara Orefice
Assistant director:Emma Di Lorenzo
Assistant set designer:Christina Psoni
Production:Casa del Contemporaneo
DATES 6 JUNE (H. 23.00), 7 JUNE (H. 19.30), 8, 9 JUNE (H. 21.00)
VENUE SALA ASSOLI


For this show, we started from an idea of costumes, as happens most of the time, but during the rehearsals we followed a completely different direction. Initially I was quite concerned about the difficulties of this text, but in the course of work I saw the show becoming more fluid and really exciting when it was finished. This year the program of the Napoli Teatro Festival, in addition to the work in which I took part and I recommend everyone to see, offers really interesting performances.
(http://www.napoliteatrofestival.it/)

                                                                                                                                      photo:Pepe Russo

Sketch

Fitting

The British author Sarah Kane – who died prematurely in 1999 – wrote five theatrical texts in her short literary career. At first she was accused of being deliberately provocative for the incandescent themes of her works; in reality Kane showed masterful skill in exploring the hidden recesses of pain and desire, of hope and despair. For this edition of the Festival, Pierpaolo Sepe has chosen to stage Crave: «The text has four characters: A, B, C and M. According to what can be read into the title, the text talks of yearning desire and alludes to the fact that what we most desire is indeed the very same thing that leads us to emotional paralysis. Certainly the emotions which are explored are not only unsettling and desolate, but also surreal and humorous. […] Worrying like an overheard confession, Crave is similar to a furtive wandering in the night in a city, where the faces of the persons are unexpectedly lit by the headlights of passing cars, to then sink once again into the dark oblivion of the night».

MATISSE-ARABESQUE

In this exhibition are told the oriental suggestions that influenced Henri Matisse. I want to focus mainly on the costumes that he created for the theater.
In summer 1919 Sergej Diaghilev and Igor Stravinskij invited Matisse to devise sets and costumes for Le chant du rossignol, one of the new production for the Ballets Russes.
Le Chant du rossignol, which would become the orchestral score for the ballet staged for the first time in 1920 with choreography by Léonide Massine.
Based on Hans Christian Andersen's tale The Nightingale , the ballet tells the story of an Emperor of China who prefers the cold warbling of a mechanical bird to the sweet song of a nightingale. But at the bedside of the seriously ailing Emperor it is the living nightingale that staves off Death with its melody, reviving the sovereign to the joyful surprise of the whole court.
So for Matisse the occasion was an opportunity to share with other visionary natures his aesthetic research and the experience of a total fusion of the arts:dance, music, theatre and painting as elements of an unrepeatable vision orchestrated around a single principle. A harmonious composition of colours, forms and lines in which to transpose, extending them, the fundamentals of his artistic research:decorativism, his intense fascination with East and his passion for fabrics, so evident in his painting.
The colours for the sets were limited to a few, decisive shades, from turquoise to black to white, while for the costumesMatisse risked radiant accords of white and black, pink and gold, oranges and reds in a sparkling of signs, like broad brushstrokes.The stage set was like a picture with colours in movement. These colours are the costumes themselves.
The decoration was orchestrated in perfect balance between two distinct formal solutions:abstract simplicity of lines- architectonic structure of the set, the clothing of the mournes, curtains, diffused floral motifs- and ornamental orientalising richness- costumes of emperor, warriors, accessories and many iconographic elements.
Matisse's personal interpretation of oriental art seemed too refined and abstract in comparison with the magnificent excess of traditional interpretations of a marvellous Orient.

Oriental inspirations

sketches

Final scene of "Le chant du rossignol"

Henri Matisse and Léonid Massine

Roma - Scuderie del Quirinale - until June 21

FROM TALES TO FASHION

Little Red Riding Hood, Maleficent, Queen of hearts, White snow, Princesses and Little-match girls, fashion designers are inspired by fairy tales. Theatrical clothing, some beautiful, but those designed by the costume designers for films are wonderful.

1-2-13: Alice in Wonderland by Tim Burton. Costume Designer: Collen Atwood
3: Pan by Joe Wright. Costume Designer: Jacqueline Durran
4-5: Mirror Mirror by Tarsem Singh. Costume Designer Eiko Ishioka
6-7: Snow White & the huntsman by Rupert Sanders. Costume Designer: Collen Atwood
8: Maleficent by Robert Stromberg. Costume Designer: Anna B. Sheppard
9-10: Cinderella by Kenneth Branagh. Costume Designer: Sandy Powell
11-12: Into the woods by Rob Marshall. Costume Designer: Collen Atwood

1:Comme de Garçon  2:Gareth Pugh  3:Maison Margiela  4:Undercover
5:McQueen  6:Vivienne Westwood  7:Betsey Johnson  8:Sibling

ACCADEMIA DI COSTUME E MODA PARTY- #1

It was the year 1964, when Rosana Pistolese founded the Fashion and Costume Academy (Accademia di Moda e Costume), "The costume is the body of fashions that change, it is the human evolution itself, it is the sensitivity and the measure of each era and each culture." (Words by the founder)
Last Sunday the 50th year of the Institute was celebrated with a party in Rondinella street. Exposed all the works of the future costume designers, fashion designers and stylists. Let's start from costume section.

Correva l'anno 1964 quando Rosana Pistolese fondò l' Accademia di Moda e Costume, "Il Costume è l’insieme delle mode che mutano, è la stessa evoluzione umana, è la sensibilità e la misura di ciascuna epoca e di ciascuna cultura.”..parole della stessa fondatrice.
Domenica scorsa, si è festeggiato con un party in via della Rondinella i 50 anni dell'Istituto: Esposte tutte le opere dei futuri costumisti, stilisti, designer.
Cominciamo con il reparto costumi.

COSTUME DESIGNERS

Related Article:http://www.scostumista.com/2014/07/accademia-di-costume-e-moda-party-2.html

LA RAI RACCONTA L'ITALIA 1924-2014

The exhibition "la Rai racconta l'Italia" at the Vittoriano in Rome opens with the exhibition of clothes created by the great costume designers and skilled fashion designers.  Rai history of costume is closely connected with the evolution of fashion. This selection compares the work of fashion designers and costume designers for the creation of the television character. Oscar awards  Danilo Donati, Piero Tosi, Piero Gherardi, designers such as Giorgio Armani, Valentino, Mila Schön, and masters of the variety as Corrado Colabucci  and Luca Sabatelli, have lent their art for the TV show.

 La mostra "la Rai racconta l'Italia" al Vittoriano di Roma si apre proprio con l'esposizione degli abiti creati da grandi costumisti e abili stilisti. La storia del costume in Rai è strettamente connessa con l'evoluzione della moda. Questa selezione mette a confronto il lavoro di stilisti e costumisti per la creazione del personaggio televisivo. Premi Oscar come Danilo Donati, Piero Tosi, Piero Gherardi, stilisti come Giorgio Armani, Valentino, Mila Schön, e maestri del varietà come Corrado Colabucci e Luca Sabatelli, hanno prestato la loro arte per lo spettacolo televisivo.

Luca Sabatelli per Heather Parisi 1984

16-Mila Schön su disegno di Corrado Colabucci per Milva 17-Enrico Rufini per Gigliola Cinquetti

Piero Gherardi per Mina 1967

Armani Privè per Andrea Osvart 2008
dietro Corrado Colabucci per Mina 1975

Foto sin:Corrado Colabucci su ispirazione di Loris Azaro per Raffaella Carrà 1971-Donato Citro per il corpo di ballo "Tale Quale" 2013
Foto ds:Corrado Colabucci sigla Canzonissima per Raffaella Carrà 1971- Corrado Colabucci sigla Canzonissima per Loretta Goggi 1972

Piero Gherardi per Mina 1967

Corrado Colabucci per Alice ed Ellen Kessler 1969

Silvana Pantoni per Sandra Mondaini metà anni '70

Corrado Colabucci per Patti Pravo 1969 e per Raffaella Carrà 1975

Patty Pravo

Sabatelli per Raffaella Carrà

Luca Sabatelli per Heather Parisi 1983

Corrado Colabucci per Milly Carlucci 1992- Luca Sabatelli per Heather Parisi 1983

Folco per Rita Pavone 1964

Aquilano Rimondi per Luciana Lettizietto