Tanguera & Violin Concerto Reflection

• How would you describe the venue (setting for the building, lobby, theatre space)?

The venue for Tanguera was contemporary.  Glass, metal, and stone elements came together to form this modern look.  The street art murals were also very contemporary.  That was the first time I had seen art like that in such a fine establishment. The theatre was not ornate like the Barbican.  The stage would have a few props like tables, or laundry lines.  The backgrounds would change from a building facade to a simple lit wall.  Nothing was too over the top.  It helped you to focus on the performers. 

The venue for the Violin Concerto was extremely ornate and classical.  St. Martins was light and delicate.  Detailed molding covered the ceiling and walls embossed in gold.  Quite different from the theatre space at Tanguera that was black and dark.  I couldn’t help but think of all the generations of people dressed to the nines who might have sat in the same pews listening a Bach piece.  

• How did the actual architecture/design of the space make you feel and/or affect your experience?

One of the reasons why I love interior and architectural design is because it can convey a mood or feeling.  Tanguera, although it was a contemporary building, also felt sophisticated.  The clean lines, smooth textures, and color palette contributed to that.   St. Martins is sophisticated but in a very classical way.  I think the ornate molding and gold leaf visually mimicked Bach’s frilly notes. 

• Think about what you felt when you were “inside” the world of the play. Was there something there that you could call a “unifying vision” – where every element of the production came together to make something cohesive that clearly communicates important information about the play (including things like mood and feeling). What visual and aural elements contributed to or detracted from that vision?

The scene that really stands out to me was when we were “in” the brothel.  Even without words I knew where this world was set because of the costumes, the body language, the table props, and the lighting.  The lighting really gave off this sensual and violent feeling.  Such a strong crimson color.  I thought it particularly interesting when the stage was lit with the red light, but the woman singing was lit in a soft blue/white light.  While everyone else was abstracted by the red light (less shadow, more angular, contrasted, and less details) the singer’s lighting made visible each detail and, therefore, each emotion.  She definitely was the focal point.  

• How did the production make you feel? What did it make you think about?

I was very caught up in this aggressive yet lovely world.  The boisterous music, the violent aggressions and tender moments all made me feel like I dreaming and watching it unfold.  The violin concerto didn’t envelope me in such a way because they were strictly using instruments: no props, and no brightly colored costumes.  Without those theatrical elements, you were forced to focus on the music itself.  Also, I couldn’t help but wonder why they chose a blue/white light for the entire performance.  The candles gave off a yellow light, and maybe the performers wouldn’t have stood out so well if they were in a yellow light.  However, I do feel that if they chose the yellow light it would have made it even more like a candlelit setting.

• What did you think about the actors? Was there one in particular that stood out in some way, or was this a play that relied on the ensemble of actors? What specifically did you notice that shaped your ideas about the acting?

I was a little mixed up on who was who when it came to the guys in Tanguera, but I was enthralled with the main female dancer.  Yes, her hair was gorgeous, but her moves were to graceful.  I loved that you could see each relationship she had.  You could tell if she felt uncomfortable, but then when she was dancing with the one she loved it was like poetry (sorry if that’s too romanticized).  The play’s plot revolved around her character much like all the men paced about waiting for their turn to dance with her.  

She was similar to the one violinist in the concerto.  The woman with the black glasses and red lips really stood out since she seemed completely consumed in her performance.  Yes, the other musicians were wrapped up in their own performance, too, but they were more demure and stifled.  She moved with the violin and swayed with the music.  I could physically see the music by watching her, and watching her felt like I was observing an intimate and personal moment between an artist using art to express some deep emotions.  I never would have thought a concerto could be so lively.