Last summer we worked with the brilliant designer Marina Hadjilouca on Die Fledermaus. We caught up with her to see what she’s been up to since…
What have you been working on since Die Fledermaus?
I designed the sets and costumes for ‘Abelard and Heloise’. The play premiered in Cyprus on the 14th of February 2020. It a contemporary play,
When you’re part of a new production, where do you start?
One of the first things I do when I’m brought onto a new production, after I have read the text (or in this case, the score and libretto, and listened to the opera) I have a conversation with the director. We talk about the story and their vision, and I share my first responses with some general inspiration images. We look at things that may have triggered my imagination.
Which of your designs have you been most proud of to date and why?
Other than Die Fledermaus, of course! One of my favourite projects to date has been Lysistrata. Aristophane’s classic was adapted and directed by Brian Michaels for the purposes of the European Capital of Culture, Paphos 2017. I was chosen by Brian to design the set and costumes for this unique adaptation. It was a rather different version of Aristophanes’ comedy, brought together 12 young actors from Cyprus, Brazil and Nigeria, accompanied by the sound of a four-member ensemble from Germany – and it brought the special House of Aion, at the Paphos Archaeological Park to life.
Who are your inspirations as a designer?
As a practitioner and researcher, I draw inspiration from various different mediums and texts. I visit exhibitions in museums and galleries, I attend performances, I watch movies and series, I read texts about space, about the notion of site and about the notion of scenography and its expanding form.