It does not store any personal data.This winter Mariko Mori invites visitors of the Royal Academy to take part in “a prayer for peace and harmony for each living being on Earth” with immersive installations which reflect the artist’s own Buddhist beliefs and reverence for the natural world. The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. It allows the website owner to implement or change the website's content in real-time. This cookie is used by the website's WordPress theme. The cookie is used to store the user consent for the cookies in the category "Performance". This cookie is set by GDPR Cookie Consent plugin. The cookies is used to store the user consent for the cookies in the category "Necessary". The cookie is used to store the user consent for the cookies in the category "Other. The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". The cookie is used to store the user consent for the cookies in the category "Analytics". These cookies ensure basic functionalities and security features of the website, anonymously. Necessary cookies are absolutely essential for the website to function properly. Madama Butterfly is back on stage at Teatro La Fenice of Venice in 2018 (April 6-24)ĭirected by Àlex Rigola, light design by Albert Faura, sets and costumes by Mariko Mori. Mariko Mori, Madama Butterfly | Staged by Àlex Rigola | Photo © Michele Crosera “I wanted to promote the idea that we can be one,” she said. Mori’s contribution to the opera, as she said, was aimed at sharing a “consciousness of oneness”, especially between East and West. The idea of circulation of life, death, and rebirth is recurrent in Mori’s production and applies to Madama Butterfly in that, in Mori’s vision, the protagonist dies and then is reborn as a butterfly. There’s a continuous circle, the front becomes the back side and the back side becomes the front.”Īs a Japanese artist designing the sets for the story of a Japanese woman, Mori felt really honoured, she said, and wanted to revitalise this classic opera, originally produced by Western culture and now performed in a globalised world, by expressing ideas of Eastern philosophy, like Buddhist philosophy, in Madama Butterfly itself. “I produced a möbius,” Mori said in an interview with Teatro La Fenice, “a symbol of circulation, of life, death, and rebirth. It is possible to draw a line on it and get to the other side without ever passing through the surface, thereby allowing a continuous “circulation”. When embedded in a three-dimensional Euclidean space, the Möbius strip is a surface with only one side. A Möbius strip is a ruled surface characterised by peculiar mathematical properties.
The scene, though, is dominated by a large sculptural element: an eight meters large möbius. In act two Mori’s layered acrylic ring stands on the floor-a symbol of oneness, completeness, and eternity as she explained referring to her 2016 installation Ring: One with Nature on the Véu da Noiva waterfall in Brazil. In act one, three stones, a recurrent element in Mori’s art, lay on stage.
The set is an empty white space featuring, over the three acts, different sculptural elements produced by the artist. Internationally acclaimed artist Mariko Mori designed the sets and costumes. This 2013 production of Teatro La Fenice was conceived in collaboration with the Venice Biennale.