Edipo re - Una favola nera
Antonio Marras designs the costumes of Edipo Re (Oedipus Rex), the classic tragedy by Sophocles, for the new show on stage at the Elfo Puccini Theathre in Milan, Italy.
Discover the story and inspiration behind the costumes and their innumerable accumulation of thoughts, references, unconscious quotes, materials, accessories and philosophies that come from afar and generate a vision, another.
Oedipus Rex tells an ancient story and a well-known axiom: one cannot transcend one's destiny, one cannot forget the past, one cannot oppose the wishes of the gods.
Concepts that are the basis of Antonio Marras' poetics.
The costumes are dominated by an innumerable accumulation of thoughts, references, unconscious quotes, materials, accessories and philosophies that come from afar and generate a vision, another. A vision that holds all the elements and all the tensions together, creating characters who roam and live in a new Middle Ages.
A vision animated by a feeling pervaded by the fundamental presence of MEMORY. Collective memory, what in Sardinian is called "su connottu", what is known, the DNA that is part of us, even despite us.
Antonio Marras is an intimist, an animist.
He loves the experience, he likes to think that objects, things, clothes, fabrics have a soul. Costumes have a soul.
Concepts that are the basis of Antonio Marras' poetics.
The costumes are dominated by an innumerable accumulation of thoughts, references, unconscious quotes, materials, accessories and philosophies that come from afar and generate a vision, another. A vision that holds all the elements and all the tensions together, creating characters who roam and live in a new Middle Ages.
A vision animated by a feeling pervaded by the fundamental presence of MEMORY. Collective memory, what in Sardinian is called "su connottu", what is known, the DNA that is part of us, even despite us.
Antonio Marras is an intimist, an animist.
He loves the experience, he likes to think that objects, things, clothes, fabrics have a soul. Costumes have a soul.
For Antonio, clothes are the words of a great figurative vocabulary; they are chosen, combined, perhaps combined in an unusual, original way, and become signs that communicate, say, narrate.
Sacredness and religiosity are important and somewhat out of place words in a panorama, that of fashion, dominated by the ephemeral and the desire to fascinate, amaze, amaze.
In reality it is a complex world and, at least originally not devoid of sacredness. In Sardinia it is said "Deus secara and Deus cosiri", God cuts and God sews; the construction of the dress, in ancient times, had something divine about it. In myth and popular traditions, the loom represents the universe; to weave is to create.
The cosmos is a fabric created by a skilled weaver through intertwining and crossing of warp and weft. In the work on the loom these divine operations are repeated each time religiously. These stories and atmospheres are part of the Marras world and inevitably come out in his work.
In the combinations, banality and flattening are defeated by eccentricity and excess, by contrasts, by dissonances that arise from the pleasure of dressing up, showing oneself and communicating that it becomes a generous act.
Sacredness and religiosity are important and somewhat out of place words in a panorama, that of fashion, dominated by the ephemeral and the desire to fascinate, amaze, amaze.
In reality it is a complex world and, at least originally not devoid of sacredness. In Sardinia it is said "Deus secara and Deus cosiri", God cuts and God sews; the construction of the dress, in ancient times, had something divine about it. In myth and popular traditions, the loom represents the universe; to weave is to create.
The cosmos is a fabric created by a skilled weaver through intertwining and crossing of warp and weft. In the work on the loom these divine operations are repeated each time religiously. These stories and atmospheres are part of the Marras world and inevitably come out in his work.
In the combinations, banality and flattening are defeated by eccentricity and excess, by contrasts, by dissonances that arise from the pleasure of dressing up, showing oneself and communicating that it becomes a generous act.
Stratifications, encrustations, overlaps, insertions, inlays, decorations, fabrics, earths, colors, metals, designs, patches on pre-existing elements in order to create an identity, another.
The clothes are carriers of fragments of identity, of personal and collective stories. Stories to rewrite, reinvent, tell through ephemeral garments.
We can recognize the Mamuthones, archaic mask of Mamoiada in the shepherd who saves Oedipus. We recognize the sacred vesting of Su Componidore, hermaphrodite knight of Sartiglia who predestined the future in the coronation scene, but also the East, Spain, Scotland, Piero Tosi, Pasolini, the violence of hostile nature and the sacred and the profane.
You can recognize your Oedipus by looking at the costumes of this black tale, true and current as never before.
The clothes are carriers of fragments of identity, of personal and collective stories. Stories to rewrite, reinvent, tell through ephemeral garments.
We can recognize the Mamuthones, archaic mask of Mamoiada in the shepherd who saves Oedipus. We recognize the sacred vesting of Su Componidore, hermaphrodite knight of Sartiglia who predestined the future in the coronation scene, but also the East, Spain, Scotland, Piero Tosi, Pasolini, the violence of hostile nature and the sacred and the profane.
You can recognize your Oedipus by looking at the costumes of this black tale, true and current as never before.
