Carmen #02

How is it possible to create sounds and tones in the viewer’s mind? The arias of Carmen are world-famous. They have become common knowledge in the best sense of the word. Even among non-opera enthusiasts.

„L’Amour est un oiseau rebelle“
Just a few words, a few lines from the songs are enough and we instantly hear the melodies in our heads. The music resounds inwardly as we look at the group of vases. Without actually hearing the melodies.
The viewers can also perceive the vessels like stage sets. This reinforces the theatrical moment. The interwoven and overlapping design elements alienate, obscure, highlight, sometimes appear delicate, sometimes pompous. Every turn of the vase stage brings new associations, lures the sound of the tones in our heads through our sense of sight and touch. The handle-like attachments and feet additionally support the scene, are variations, accelerations, pianissimo and fortissimo notes for the vase performance.

The means of expression used are not staves, notes, clefs, but text, scoring, hatching, glazing, scratching, embossing, stamping. They imitate the blowing smoke of tobacco. They show the inevitable transience of all love, all life in „La Fumée“.
They form the battlements of the city wall where Lillas Pastia gathers his people around him.
And promise the dance and drunkenness that Carmen conjures up in „Près des Remparts de Seville“.

They put „L‘ Amour est un Oiseaux rebelle“ on three delicate legs.
They foreshadow the love dramas and pleasures of love that Carmen sings about in the aria.
They celebrate with the carvings of the horizon and the dancing letters this most sonorous of the three titles quoted on the vases.

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