OVERTURE The show should start with an overwhelming and breathtaking underwater-effect. Something that will immediately spell: enchantment. I had that with the production of Orfeo (https://www.youtube.com/watch?v=thPeXbK26kY) by Trisha Brown. The sight of people floating does something to you. I therefore want “actual divers” underwater dive up pearls from the bottom of the sea. Seeing the pearl-fishers actually under water brings you straight into the realm of theatrical magic. This should be done with the use of rigged dancer-acrobats. I have in Holland a group (company NEWA) that can teach dancers in Charkov to perform these skills. I envisage an sandy beach setting with a view in the distance of the sea. On the stage itself that is to be slightly higher than the ocean, so that Leïla can moor without being seen and has to walk up to come upon the stage-beach. On the beach a platfom with a large tree and two boats. These boats can be turned around between act 1 and 2 to become a huge lying statue of either Ganesha, Shiva or Grishna. (to be deceided). An statue that will be toppeled over in the 3rd act. when the village is on fire and when Zunga deceides to let love and friendship prevail over law order and dogma. FIRST ACT The build up of richness in design shoud start with very coulorful but simple means. Very intense but simple effects. Body-painted male dancers that celebrate the inauguration of Zurga, clad in clashing coulors. Zurga being installed by the means of facial paints -as was and is the custom in India and Ceylon. Although the main religion of Ceylon was Buddist, Bizet mentions the god Bramah several times, indicating that we should not situate this play in a Bhuddist but in a Hindi envioronment. This allows for Zurga to be “made up” as a Leader, complete with facial make up. The entrance of his old friend Nadir is the more beautiful, since he comes totally differently clad in the midst of a ceremony. This allows a very clear contrast in style. 15
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