Collaboration with choreographer Eion Ó Fíannachta
Stage, Costume and Projection Designer Dana Keren
Choreographer Eion Ó Fíannachta,
Sound Design Rameethha Venkatesh
The piece titled "UISCE״ meaning water in Irish, by choreographer Eion Ó Fíannachta, with set and projection design by Dana Keren and sound design by Rameethha Venkatesh, tells a deeply personal and haunting story of childhood memories. When Eion was just a young boy, he had a terrifying experience of nearly drowning in a swimming pool. This traumatic event occurred when he was unexpectedly shoved by one of the other kids who were playing in the hotel garden during a trip to Italy.
In this piece, our primary objective was to vividly portray the emotional journey that Eion went through during this harrowing incident. We aimed to capture the transformation of the pool from a joyful and magical space into something much more ominous. The tiles of the pool seemed to grow larger, morphing into an intimidating and frightening object. It was as if a familiar and comforting element had suddenly become abstract and unfamiliar, causing a sense of disorientation and chaos. The water seemed to swirl and spiral out of control, pulling Eion deeper and deeper into its depths.
Finally, as Eion was rescued and pulled out of the water, the setting changed to a warm and safe space. However, the feeling was no longer the same. The experience had left a lasting impact on him, casting a darker shadow over the once-comforting environment.
Through this performance, we aim to explore the fragility of childhood innocence and the lasting effects of traumatic experiences. By expanding upon Eion's personal story, we hope to invite the audience to reflect on their memories and how they shape our perception of the world.
Research and Development
looking into the behind the scenes of the making of The Barbie film enhanced my grasp of traditional theatre techniques. It provided valuable insights into crafting the desired stage movements I was looking for and served as inspiration for the layering of fabrics in the costume design.
The 1927 theatre company's rendition of The Magic Flute Opera significantly influenced the staging's lighting dynamics. it offered invaluable guidance on seamlessly integrating these elements into the overall visual narrative.
The weather project by Olafur Eliasson was the inspiration behind the atmosphere I envisioned for the performance.
Drawing from The Blue Man Group, I incorporated elements that sparked inventive practical effects, contributing to the overall dynamism of the theatrical experience.
The choice of colours were drawn from the swimming pool photographs from the photographer Mária Švarbová as well as my the painting series ‘MAMILA POOLS’ by painter Eran Shakin.
In crafting the narrative of Eion's story, I started to assemble a collection of stock footage that embodied the emotions I wanted to evoke. The sequence takes the viewer on a journey from a child's perception of being in a pool, drawing nearer to the water, swirling around until it becomes intimidating, and finally returning to a comforting and secure environment. While Eion's story is set in Italy, I strived to abstract this sense of warmth into something more symbolic. The sun was my chosen emblem of warmth, presenting a striking contrast to the cool blues of the tiles and water.
In creating my costume design, I was inspired to create a cape for the dancer - a piece that could easily be put on or removed as needed. The cape was designed with dual functionality in mind, not only in utility but also in symbolism. One side of the cape was made reflective, a representation of water and the shifting, fluid nature of the dance. The other side was made with a towel-like material, offering a warm, dry texture that the dancer can change into while on stage. This change in texture also signified a change in the dancer's circumstances - a transition to a safe and comfortable space.
