"The Scenography, designed as an auditorium, is conceived prospectively to expand into the Teatro Ariston. Wide meshes of steel - almost streets - build a link with the outside through light paths. White triumphs as a symbol of purity of art. The music inside, thanks to these links, comes out of the outside drawing inspiration and reason to exist. The architectural elements give stage volume to represent an urban agglomeration, a city of the future. Through two video spirals that rise and fall in helical twist to help the music rise to new horizons. Acoustic arcs find verticality to help the sounds become universal ".
This is how Emanuela Trixie Zitkowsky, scenographer of the 68th Sanremo Festival, recounts the encounter between light, image and architecture on the stage of the Ariston, to accompany the show of the songs in front of the millions of viewers at home and the 1273 spectators seated in the theater.
"A thousand square meters of video and light transform the immaculate temple into a multi-colored palette. A curtain designed in four blades descends and preserves the spaces by announcing new visions through its 4,870 teardrop bulbs that recall the past but keep in the core new technologies projected into the future."
n the heart of the scene a structural flower closes the perspective as a symbol of the purity of all the arts and blossoms opening its petals of light revealing its interior: a pulsating heart that becomes an introduction to listening to music (the scale). The luminous flower spreads upwards until it reaches the white stalls occupying the proscenium and dominating the public. A volumetric pentagram where new notes give life to the Year Zero of Italian music as conceived by the Artistic Director.
The black mirror stage is supported as a sheet by helical sculptural elements that rest as if they were sheet music ready to spread infinite sounds.
Two side staircases like open flower petals embrace and introduce the white orchestra arranged on two platforms that spread the notes in this auditorium of the future where music is the protagonist.
As in a modern architecture where the canons are subverted and the horizontal becomes vertical, the scenography interprets the passage, the ways and the infinite of musical variations in search of the absolute "
Emanuela Trixie Zitkowsky, whose father has been doing television scenographies already in the end of the 1960's, has already done one stage for Sanremo, in 2014. Her other works countless works in borh Rai and Mediaset from Grande fratello to Telerentola and Fiorello Show for Sky. If she goes for the future and steel & light this time, back in 2014 she was inspired by a decadent palace of '700 in Paolo Sorrentino's La grande bellezza style.
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