.
L'ultimo Atto di un progetto che mi ha visto occupato per tutto un anno intero.
Con oggi chiudo que sto fascinosco racconto che mi ha accompagnato in these months of trial leading me to learn new techniques and improve those that already knew. The taste
used in ' interpret this text set in a Venice of love and intrigue was purely Gothic style that I find I still have blood even though I had completely given to other genres in recent years. In
' interpret my drawing style too much tending to the comic someone coined the term "Gothic Fables," a term that I really believe that I will use again in the future! ;)
- Bassanio - Just like the the "strip" with all characters once uploaded to the web carpet and rug to be in a format not too legebile, I add here a few appear single, in the hope of being able to achieve eun gallery on a day tuttto-line for many.
Bassanio I had to make 2 times, because being the first character I had drawn and colored, when they are arrived last I realized that the technical gap between the two was too much and did not appear that the two did not part of the same work!
Bassanio I had to make 2 times, because being the first character I had drawn and colored, when they are arrived last I realized that the technical gap between the two was too much and did not appear that the two did not part of the same work!
- The Principer Morocco - Perhaps the most well- riuscito dopo Porzia ; Ha fatto innamorare parecchia gente con il suo sguardo profondo e il suo fisico scolpito, tanto che ho sentito frasi del tipo "Porzia, molla quallo sfigato di Bassanio e mettiti col princiope di Marocco!!"
-Nerissa- L'ancella di porzia, volevo che fosse anche lei bella come la sua padrona, ma se Porzia era una bellezza pura e naturale, quella di Nerissa doveva essere una bellezza ricercata e appariscente.
-Lancillotto- Mi son divertito molto con questo personaggio; is much more fun to paint ugly and grotesque characters, because you can sbizarrire with the brush strokes and effects.
This is the board game of the three caskets, all three equal, but each of a different material, different incision, different content! Only those among the suitors of the beautiful Portia had opened the right chest could take in marriage. In my interpretation staff, emphasize the importance of Venice in this context, I have created cross-references between text objects and Venetian masks. In this way, "the skull", "the puppet of the fool" e "il dipinto di Porzia " vengono rielaborati con caratteristiche che rimandano appunto alle maschere.
La scenografia, concepita per essere realizzata all'interno del particolare spazio circolare del "Teatro Studio" di Milano รจ composta principalmente da un fondale e 2 mezzi ponti semovibili . A seconda di come questi elementi vengono combinati insieme tra loro e con il fondale, e grazie anche all'ausilio delle luci e degli scenari, il luogo della scena cambia completamente dando vita a bel 6 luoghi diversi!
- Inside Venice - The two half-bridge modules are joined together to create a full bridge that is located within the scene. A light mist simulates the city's canals while the actors perform a scene from the deck and the porch in the background.
- House Shylock -
The house where the greed merchant jew is officially sealed the blood pact that binds the landlord with the merchant Antonio, the protagonist of the book. The two "modules bridge" are juxtaposed with two side doors of the set forming two stairs leading into the house. The gloomy light comes from a single central window designed to illuminate only the table and the three participants to the scene ( Shylock, Antonio and Bassanio )
- House Shylock - The house where the greed merchant jew is officially sealed the blood pact that binds the landlord with the merchant Antonio, the protagonist of the book. The two "modules bridge" are juxtaposed with two side doors of the set forming two stairs leading into the house. The gloomy light comes from a single central window designed to illuminate only the table and the three participants to the scene ( Shylock, Antonio and Bassanio )
- Court Venice - In this scene, the bridge module is not used.
Venice, with a backdrop of sunset lights tending to a blood-red, to emphasize the tension of the moment and an ending that seems inevitable. (A life that is coming to sunset)
The large space of the theater is used to make the most la scena, utilizzando gli spalti laterali circolari del pubblico come fossero parte delle tribune della corte di Venezia, portando cosi il pubblico a essere coinvolto in primissima persona all'interno del processo.
Venice, with a backdrop of sunset lights tending to a blood-red, to emphasize the tension of the moment and an ending that seems inevitable. (A life that is coming to sunset)
The large space of the theater is used to make the most la scena, utilizzando gli spalti laterali circolari del pubblico come fossero parte delle tribune della corte di Venezia, portando cosi il pubblico a essere coinvolto in primissima persona all'interno del processo.
- Belmonte Notte - Per il palazzo di Belmonte (vale sia per il giorno che per la notte) I "moduli ponte" vengono nuovamente uniti per formare un ponte unico, ma questa volta vengono avvicinati all'arcata centrale del fondale in modo da formare una sorta di imponente scalinata degna di una facciata di un palazzo.
0 comments:
Post a Comment