I had the chance, in the fall of 2015 to meet the Director Richard Martin and feed a few dreams with him... Dreams of a common creation around Carmen, opera which play at the Marseille's Dôme the following spring, and he told me the scenography - free me to imagine the setting, without any artistic constraints and to form a team. I felt for some time already the pressing need to renew my gaze and so it is the free spirit that I engaged in this adventure.
I knew that this project would be intensive, should be produce quickly, open all valves of inspiration, namely respond, cope with stress, bounce and communicate, but I was not expecting that this artistic adventure as much as human is so liberating nor that it would converge with so obviously all my sources of inspiration...

 

ACTE ONE

 

... Where Don José , Mikaela , Carmen, cigarette girls and gendarmes come in. Carmen directed by Richard Martin and Jacques Chalmeau whose musical director is presented in its original version , which had not been played since its creation in 1875. Prosper Mérimée set the action in a square adjacent to the Royal Manufacture of tobacco in Seville, Richard Martin sets the scene in Marseille, the popular Wasteland of the Belle de Mai which regularly holds the same name market

SKETCH


In addition to the positioning of the main decorative elements : the garden, the facades of the Seita ( old tobacco factory Marseille ) , a courtyard area of gendarmerie , this sketch introduced the idea of extending the stage space with a large square in perspective continuing until the silhouettes of industrial buildings. While this setting is intended only be projected , we imagined from the start as a dynamic element of the staging, a cartoon can extend , underline, or fade behind the actors .

DECOR


Space

The decor of Act I fits the wall facing the bleachers , bias being projected directly on the black surface unevenly , using the maximum space of 18 x 35 meters , and leave "singing" the lines of the drawing , a maximum contrast .

Courtyard and garden side doors that give access to the Dome of the units are integrated into the décor as access to backstage. Part of the image is intended to be projected to the ground and thus confuse the maximum the actual game and the fictional space that will profile the wall.

 

Animations

Throughout the first act , the decor changes according to the literary work beginning on the day and ends at nightfall , while peppering some dramatic events , but above all as staging intentions sometimes are mixing the image and reality , sometimes extend the original work with a critical eye on society and the news ...

And two stories combine at the opening : while the market in May Belle comes alive on stage, a group of children entered the screen " and moved to a puppet theater . A military truck crosses the projected site the truck made its entrance on stage , escorted by a myriad of children on the Kids Choir .

When real and fictional Times WELL mixed , director Richard Martin (INSPIRE of coryphaeus of antiquity ) begins its work of one radiologist company will continue That denouncing Taking on stage pictures "Reliable " Who appear in full screen on the wall: the cigarette girls emerge from the manufacturing and light Their cigarettes ( " it's smoke " -they sing wHILE That the mask of death behind Ellès profile ... . ) ; They make a break , harassed ( the Red Poster appears in counterpoint to the wall as denouncing labor rights).

Ensor's masks for the puppet theater puppets are caricatures of a carnival humanity.

... Some children on the marketplace play to mimic the police ( and we think our current society where many children are soldiers ) ...

Dramatic aspect of this act is done by the Mikaela's song, and by her dream which gets real in great format. Then, still in the projected image , night falls gently , the windows light up gradually. Some will go out later to make way for the Lillas Pastia Hostel introducing Act II .

 

 

 

 

 

Some will go out later to make way for the Lillas Pastia Hostel introducing Act II .

Animations

Mathieu Carvin, Eric Montardy (Rêve de Mikaëla)

1 Opening

2 Smoke

3 Mikaëla's dream

4 Night falling

5 Lillas Pastia's inn

 

FINAL SCENE


 

 

 

 

ACT II


INTRODUCTION


... The second act takes place at night in the inn of Lillas Pastia . The original text follows two atmospheres: the lively and noisy when women dancing on tables , the other more confidential where smugglers meet in secret. For the most stage director lies in the party atmosphere where singers - actors are like life bubbles around which the light bubbly.

SKETCH


The sketch installs two areas described in the text , which they finally retained will derive their justification rehearsals and staging that will inspire us more ...

DECOR


Space

 

As in Act I , comic doors correspond to real doors while the checkered thrown to the ground allows to expand the floor space. Very sober , this slightly oversized decor disappears discreetly behind the stage , it will in time.

Time

 

Act II is punctuated by domestic life : convivial , intimate scenes , effusions and dances, secret meetings ... After installing the set, this is slowly changing as if moved by large machinery. A torchlight is behind the windows , Escamillo enters the stage and the atmosphere in the hostel up a notch . When it is at its peak and that " rods of Cistes tinkle " , drawing as it dances to the rhythm of flamenco.

 

Animations

Mathieu Carvin, Patrick Andruet (Les cystes tremblent)
1 Apparition du décor
2 Cistus trembling
3 Transition

 

 

ACTE III

INTRODUCTION


…Act III is the most delicate and magical to imagine. Delicate, because it combines both the mystery , danger, Carmen destiny ; magic because it is played with the light of the flames of a camp , staged moonbeams and transforms every line in night lights .

SKETCHES


Several sketches were needed to finally choose us . It required both find the location of a camp , imagine a smuggling route , open the landscape on a mountain , hoping to place the action in Marseille.

None of these sketches were finally chosen ! Given that the natural setting of Marseilles creeks had everything we needed , it was the Cape Croisette I found it necessary to Act III : jagged landscapes that might become gloomy in the moonlight , pines to house a camp , the profile of the islands and Marseille away ... it was necessary to imagine a camera movement enabling us to reach the waterfront .

DECOR


Space

Act III opens on a starry night, sparkles and stretches wispy clouds that lick the scene. courtyard and garden side , the doors are hidden by the gypsy camp and then by large pyramidal rocks.

This time the image does not extend on stage, and changes according to the lighting in pink tones , gold and blue . At the end of the act , the camera down to the waterfront, where you can see the boat smugglers away ... Finally , this boat will serve the director to discuss the migrants of our news.

Time

The film expresses the explicit non sides of the story and poetry develops in large size : the headlights appear in the distance , on a winding road to the forefront : they are the smugglers arrive from the image onto scene where they park the vehicle responsible for stolen cigarettes . While camp life is organized , Carmen pulls death in his tarot deck : symbolically represented by the flight of a yellow butterflies cloud -poétiques , ephemeral , bright as the campfire sparks , it grows along the wall onto the Dome structure.

Animations

Mathieu Carvin, Patrick Andruet
1 Headlights at night
2 Apparition du décor
3 Butterflies
4 Transition

FINAL SCENE


 

ACTE IV

INTRODUCTION


« Viva la muerte! »: key sentence of the last act. Everything unravels in the original work as in the staging of Richard Martin, where every element finds its proper place : the masks Ensor , the "people" and children, far to the old and excess circus games , a look at death , life, society ...

The decor could have been here classic becomes a fantasy image resulting flames. Everything burns , light and color becomes vibrant , the idea here is to change from black and white of the first act with colorful saturations final .

SKETCHES


Since each of these sketches matched the Coliseum image that served as the staging , but we can not decide we explicitly for a particular point of view , I have chosen to collect these images in one motion and all Express.

DECOR


Space and Time

The arena until its square ... Space is clearly identified, geometric lines of the earlier acts here become soft and sinuous . Fire " lit" on the wall during the prelude music at the end of the third act gives rise to arenas and continues to burn inside until the final arcades.

Animations

Mathieu Carvin, Patrick Andruet
1 Les flammes
2 Apparition du décor
3 La mort de Carmen
4 Final

FINAL SKETCH


 

Visit the websites of Mathieu Carvin, Patrick Andruet and continue the tour to the Toursky!