{"id":16440,"date":"2025-04-22T12:46:55","date_gmt":"2025-04-22T10:46:55","guid":{"rendered":"https:\/\/operazuid.nl\/?p=16440"},"modified":"2025-05-02T13:50:15","modified_gmt":"2025-05-02T11:50:15","slug":"saying-yes-to-everything-and-making-the-impossible-possible","status":"publish","type":"post","link":"https:\/\/operazuid.nl\/en\/saying-yes-to-everything-and-making-the-impossible-possible\/","title":{"rendered":"Saying yes to everything and making the impossible possible"},"content":{"rendered":"\n<p><strong>For set and lighting designer Bretta Gerecke and costume designer Marrit van der Burgt, creating theatre is like being on a treasure hunt &#8211; you never know where you\u2019ll end up or what you\u2019ll discover along the way. And there are many paths to reach that treasure. One essential condition: saying yes, in order to keep every option open. A conversation about\u00a0<em>Le Villi &amp; Silenzio<\/em>\u00a0and the role their designs play in this opera.<\/strong><\/p>\n\n<p><em>Where do you find inspiration for your designs?<\/em><br\/><strong>Marrit:<\/strong>\u00a0\u2018As soon as I read a libretto or script, images and colours appear in my mind. Then I dive into books, photographs, films, and reflect on the many journeys I\u2019ve been on. For\u00a0<em>Le Villi<\/em>, I thought of old Japanese villages, where men and women dress almost identically in natural fabrics like linen and cotton. That Japanese style of draping fabric around the body works really well in this concept. The dancers and singers actually shape the costumes: they create the silhouettes through movement &#8211; I just provide the material.\u2019<br\/><strong>Bretta:<\/strong>\u00a0\u2018Because <em>Le Villi<\/em> is mainly set in the woods, my starting point was nature. I looked at trees, installation art, sculpture, and land art. Dreya\u2019s background and wishes in choreography and aerial performance also guided us. Those stretchy, transparent materials &#8211; essential for movement on the ground and in the air &#8211; formed the foundation. That eventually led to this transforming forest.\u2019<\/p>\n\n<p><em>Bretta, how do you translate the themes of\u00a0Silenzio\u00a0and\u00a0Le Villi\u00a0into a visual world?<\/em><br\/><strong>Bretta:<\/strong>\u00a0\u2018The stage is essentially a closed circuit of fabric,\u00a0with trees at the centre. There are also fabrics that fly in and out of the stage, reshaping the set again and again. In\u00a0<em>Silenzio<\/em>, we use those borders to represent Anna\u2019s emotional world &#8211; sometimes she hides, sometimes she reveals herself. With just a few elements, we can distinguish between\u00a0<em>Silenzio<\/em>\u00a0and\u00a0<em>Le Villi<\/em>, while also emphasizing their narrative connection.\u2019<\/p>\n\n<p><em>Marrit, what is the core concept behind your costume designs?<\/em><br\/><strong>Marrit:<\/strong>\u00a0\u2018The <em>Villi <\/em>are dead and buried, but they live on through the trees; so their clothing is timeless yet decayed. The degree of decay reflects how long they\u2019ve been among the <em>Villi.<\/em> At the same time, we want to show which family members (living or dead) are connected &#8211; we do that through different color accents in their clothes. There\u2019s also a clear contrast between the <em>Villi\u2019s<\/em> natural world and the dark, chaotic city where Roberto must claim his inheritance. For the city costumes &#8211; in contrast to the flowing fabrics of the natural world &#8211; I created strong silhouettes that complement the images Bretta creates in those scenes.\u2019<br\/><strong>Bretta:<\/strong>\u00a0\u2018The city is definitely the opposite of nature, with almost geometric shapes. With the lowered panels and our use of light and color, we create a completely different world.\u2019<\/p>\n\n<p><em>How does the collaboration with everyone involved unfold?<\/em><br\/><strong>Bretta:\u00a0<\/strong>\u2018Theatre-making is a living process, and each production is unique. Change one element &#8211; one singer or one dancer &#8211; and everything shifts. We\u2019re one organism, creating something that can only exist in\u00a0this\u00a0moment. It\u2019s a bit like being on a treasure hunt: you can take many routes, and you never know who brings what, what you\u2019ll carry forward, or where you\u2019ll end up.\u2019<br\/><strong>Marrit:<\/strong>\u00a0\u2018I love that there\u2019s space for improvisation. Just recently, we suddenly came up with the idea that someone needs to go up in the air &#8211; upside down &#8211; even though that could be tricky. But then Dreya said, \u2018if something\u2019s difficult, that\u2019s exactly what makes it interesting to watch.\u2019 I love that attitude: that\u2019s how the most beautiful things come to life!\u2019<br\/><strong>Bretta:<\/strong>\u00a0\u2018That\u2019s what we call\u00a0<em>Yes and<\/em>\u2026 No <em>no<\/em>, or <em>yes, but<\/em>.\u2019<br\/><strong>Marrit:\u00a0<\/strong>\u2018<em>No<\/em> isn\u2019t an option. If you want to make theatre, you can\u2019t say <em>no<\/em>.\u2019<br\/><strong>Bretta:<\/strong>\u00a0\u2018Exactly. You have to explore all possibilities. You have to go on that journey to discover where you\u2019ll end up. There\u2019s only one thing you know for certain: the curtain\u00a0will\u00a0go up. And no designer ever feels like it\u2019s truly finished.\u2019<br\/><strong>Marrit<\/strong><strong>, laughing:<\/strong> \u2018And yet it\u00a0is\u00a0finished on opening night. Simply because it has to be.\u2019<\/p>\n\n<p>Interview: Kyra Bertram<\/p>\n","protected":false},"excerpt":{"rendered":"<p>For set and lighting designer Bretta Gerecke and costume designer Marrit van der Burgt, creating theatre is like being on a treasure hunt &#8211; you never know where you\u2019ll end up or what you\u2019ll discover along the way. And there are many paths to reach that treasure. One essential condition: saying yes, in order to keep every option open. A conversation about Le Villi &#038; Silenzio and the role their designs play in this opera.<\/p>\n","protected":false},"author":3,"featured_media":16438,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"ghostkit_customizer_options":"","ghostkit_custom_css":"","ghostkit_custom_js_head":"","ghostkit_custom_js_foot":"","ghostkit_typography":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[37],"tags":[],"class_list":["post-16440","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.7 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Saying yes to everything and making the impossible possible Opera Zuid<\/title>\n<meta name=\"description\" content=\"Interview: For set and lighting designer Bretta Gerecke and costume designer Marrit van der Burgt, creating theatre is like being on a treasure hunt - you never know where you\u2019ll end up or what you\u2019ll discover along the way. 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