SECOND ACT In order to bring about the power and tension that is needed in the second act, I propose an evening scene for the second act where the beach is transformed into the huge altar of an old Hindu temple. This temple is not on the beach but overlooks the coast where the village lies. Coastline in now only sky where the massive statue dominates the pinnacle. Leïla is brought to the place by Nourabad and these scenes intimacy is vital. We should evoke a star studded night and a warm and almost oppressive atmosphere of tropical nights in summer. There should also in the lighting be a feeling of imminent danger.. I envisage a moving almost full projected moon. So it can during the act actually move from high up to almost disappearing. Different intimate scenes follow each other in fast paced rhythm. This calls for a totally different “feel” than the first act. Where in the first act exuberance is needed, in the second act we seek Claire obscure. A Rembrandt-like idea of moonbeams and shadows in which the characters can appear and disappear at will. This will support the music in it’s mystical and threatening mood of impending doom. Very exiting and full of atmosphere... In this it would be very appropriate to have Leïla in light colors rather than in red. We should also become very aware that she is a very sensual attractive woman. From the formless and neuter attire in the first act: very rich but all covering gold and reds, to very revealing light and sheer clothing in the second act. She should be an asian Venus, a double with the moon. Also it gives Zurga the possibility to soil Leïla’s garments in his wrath and by doing so he desecrates her and she becomes a woman of flesh and blood. 19
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