Left alone the two men now change the opera from large to small: the next scene allows for very human and realistic interaction. So should the lighting. Throughout the opera we switch form grand to small, and back. This way you can see the individual be confronted by the larger group and feel his or hers struggle so much better. It also allows for very human emotions and theatre that goes right to the heart. Great opera should touch you not only by the music and singing but by the human dilemma’s that speak to our hearts. FIRST ACT (PART TWO) With the entrance of Leïla we can bring on a complete differnt set of costumes: here the plot switches from rural to ecclesiastical. We bring in richly adorned women that accompangy the priestess. We see this way a devide between male and famale energy in the play: men are connected with the earth and work, women are associated with the devine and the spirit. The dances that in the beginning were virile and earthy should now become airy and very female. The entrance of Leïla must be a highpoint in the first act: she must in het mysteriousness be both holy, sensual, and ritual. We must sense that her presence evokes respect among the tribe. Rich colors, gold and embroidery. Open staging and evening light. 17
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