SEPARATION

The audience’s first impression

must be of a realistic and

recognisable space with large

white walls. As the drama unfolds the

white of the walls turns black, giving an

increasingly abstract and conceptual

dimension. The idea behind this is that

the space supports the dramatic

development of the characters and their

actions as well as their internal confl icts.

TRANSPARENCY

Another characteristic of the vertical

parametres that surround the

l iving room is the possibi l ity of

i l luminating the walls from the back and

creating new spaces behind them, such

as the private spaces in the bathrooms.

In addition the audience wil l see the

action behind the walls and in the l iving

room at the same time. The idea is to

generate an atmosphere of tension and

complicity with the characters, the

audience being witness to al l that

happens in and behind the scenes.

The large picture window that overlooks

the corner of the l iving room plays the

biggest part in this code of transparency

throughout the whole play. I t is the

permanent connection with the outside

world who can see them all the time and

forms an accomplice to their secrets and

crimes. This resource is a subtle

reference to the fi lm “Rope” by Alfred

Hitchcock, where executioners and

victims share the same space under the

gaze of the audience outside.

The opera unfurls in a spacious, angular, white

l iving room, both modern and luxurious, over

three acts. The living room is centred around a

large picture window, several armchairs, the entrance

to a bathroom and an American kitchen, and is adorned

with gi lded picture frames.

SPATIALCONCEPT

GEOMETRY

The layout of the space is clearly

depicted by a triangle. I t is a

representation of woman and

along with that the continuous presence

of the main character Frida, whilst the

angle of the stage generates vigour and

unpredictabil ity as well as escape/

The triangle is in opposition to the square

that dominates all the horizontal

parametres. The square symbolises

robustness, stabil ity and masculinity.

Throughout the play this square suffers

from degradation, disappearing l ittle by

l ittle in the same way as the male

characters. Despite Frida’s early death,

she is the one who is spatial ly present in

the scene during the whole opera.

The large picture window is a square that

is accessed through a higher triangular

plane with steps, and it acquires the

symbology of an altar where the main

character’s sacrificial death takes place.

MEXICO AND RUSSIA

It is intended to give more information

on the precedence, status and

personalities of the characters through

symbolic and iconic detai ls in their

surroundings. The Mexican presence is

shown mainly through portraits of Frida

and her sister on the l iving room walls,

with al lusion to actual pictures by Frida

Kahlo. The spatial geometry is intended

to reflect a typical modern house in the

suburbs of Mexico City.

The Russian presence is shown with

objects such as Russian dolls that

represent the secrets that intersperse in

the drama. I t is also shown through

gilded detai ls on the door frames: a

reference to the ostentatiousness of

luxury Russian interiors.

SPATIALCONCEPT

BLACK

Black is worn by Diego and Crisitina

and it also appears in the kitchen

and on the sofa. Black symbolises

the change from good to evil and the end.

I t is the final colour after the degradation

of the walls in the scenography. I t carries

elegance but at the same time it

symbolises death, hatred, i l legal ity and

brutal ity.

Absent of l ight, narrow, hard and heavy, it

is the total antagonist of white.

WHITE

White is present on the l iving

room walls and floor as well as

in León and Cristina’s

costumes. White is a symbol of purity. I t

is a feminine colour, the colour of victims

of sacrifice and minimalistic design. In

this play it is also associated with the

colour of cocaine, the staple that

supports Frida and Diego’s social status

and standard of l iving.

On a more transcendental plane it is the

colour of spirits and ghosts, and the void.

COLOURSIMBOLOGY

RED

Red can be seen in Frida’s dress

and Cristina’s nurse’s uniform. In

the scenography it appears in an

armchair, in several props such as the

apples (the symbol of original sin) and

the red tablecloth that covers Frida when

she is dead. Frida’s tub in her bathroom

is also red. I t is in her bathroom that she

prepares for her date and puts her make-

up on, and where she wil l be

dismembered. I t is also an altar and

represents sacrifice.

Red wil l symbolise love, blood and earth.

I t depicts luxury, immorality, forbidden

things and danger.

Colours carry a strong symbology in the

characters’ costumes as well as in the

scenography and props in the same way as

the geometry and spatial dramaturgy.