I. Set Design - Samson et Dalila: Spaces & matters - Exhibitions - Visits

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I. Set Design

BTS Design d'Espace

BTS Design d'Espace, ESAA Duperré

by Emma Guttridge

"My intention in the scenography of Samson and Dalila was to point out domination and to put forward the authority of some characters authority. I imagined a set which slightly changes between each act in order to express domination of a character over another through different levels, sizes and contrasts between light and darkness. One of the constant parts of the set is the moon, symbol of the celestial world. Samson is a mediator between earthly and celestial world."

La Ville Entière

Emma Guttridge, ESAA Duperré

by Alexandre Berquin, Alexandra Boursier, Léa-Luz Garcia-Chatillon

"The key of our textual interpretation is the showdown between characters, communities, religions. Two communities are opposed, the Hebrews represented as an oppressive, imperious, out of control, even of divine quality and the Philistines, insensitive with a sectarian appearance. We focused on this confrontation and clearly on the twists in the drama between these communities. As a universal conflict, it takes place in a timeless world with an objective and neutral point of view."

Ambivalences

Alexandre Berquin, Alexandra Boursier, Léa-Luz Garcia-Chatillon, ESAA Duperré

Ambivalences

Alexandre Berquin, Alexandra Boursier, Léa-Luz Garcia-Chatillon, ESAA Duperré

by Laura Kerharo, Mathilde Klimek, Luce Viot

"We have chosen light as a crucial element for an abstract scenography. Our main goal was to translate and express emotions and feelings. The aim was to cause tensions and breaks as well as maintaining stability between the different scenes spotted by singular atmospheres in the libretto. Light suggests a particular atmosphere for each scene. A singular poetry set up through different conceptions pervades the scenographic conduct: from rising to light vibrations and quivers that express a storm, sudden appearances of fluent, voluptuous and colored shapes that mix to give a spring weather, mirrors that send back glows and distortions for an unhealthy or degrading atmosphere ending in mirrors lowering and light rising as it was at the beginning of the scene.

We were not interested in a real/figurative depiction of the place where the characters move. We wanted to rewrite the rule of operatic scenography with an empty stage and let the light create space."

Suggestion par la lumière

Laura Kerharo, Mathilde Klimek, Luce Viot, ESAA Duperré

par Esther Christensen, Sonia Das Neves, Morgane Cam

"The goal of Samson’s story is mainly theological: moving away from God makes oppression appear whereas being close to God brings freedom. Strangely, God is partly responsible for the conflict between the Hebrews and the Philistines.
Today, wars of religion have devastating effects ; the topic of the opera has yet to be proved.

Improper seduction ? From attraction to disgust ? Sex and the Woman appear unhealthy ; soon, Samson is trapped."

Baisers d’abysses

Esther Christensen, Sonia Das Neves, Morgane Cam, ESAA Duperré

by Juliette Verduzier, Etienne Maisonnial, Elisa Rey

"This history appears as a conflict between opposing as well as compatible powers/strengths that meet, mix, attract each other, reject and bump into each other. First, Samson’s, rude, war like, compulsive strength, he passes to his people, leading to rebellion, is opposed to Dalila’s unnatural and seductive double-dealing. All around, the witnessing and blind crowd, easy to handle and gregarious, urges each other on in violence and perversion. We have built our reflexion and stage rendering on these unusual energies emerging from the text."

Des forces en tension

Juliette Verduzier, Etienne Maisonnial, Elisa Rey, ESAA Duperré

by Mathilde Romand, Laurène Mas, Antoine Sage

"Topography of the set represents overlays of stratas : curves, coated with various shades of grey concrete are drawn at random along and around a turning stage. Each level leads to the sommet where the throne of Dagon is set ; this classical two piers architecture of pure white colour looks sanitized. On the lower level, a street leads to a public square where traffic and struggle occurs. Two huge flat buildings with carved windows sunlight penetrating overhang the street.
The back of the set becomes the front during act 2 when Dalila has decided to seduce and trick Samson.
The audience responds to the changing atmosphere as well as time ; at dawn, the audience witnesses Dalila’s trickery.
The same strange and disturbing trouble comes out of Samson et Dalila, the spirituality of the topic reminds of earlier oratorios.

This biblical opera forces us to be constantly disturbed by this love story taking against a background of cultural hostilities between the Hebrews and the Philistines. Sensuality is connected with Dalila. Religion and seduction is widespread all over the opera. The set defines the power relationship between both communities.

This relationship is pictured by different heights according to the position of the community. Through the contemporary aspect of the set lies the political background of the story."

Tensions/Variations

Mathilde Romand, Laurène Mas, Antoine Sage, ESAA Duperré

by Lou Denis-Motte, Elena Gaudin, Julie Aguila

"This love story between both characters seems to justify a conflict between two communities. Samson, like Dalila, are spokespeople of two warring parties.

This conflict is timeless and refers to religion wars and nowadays conflicts and more precisely against Daesh, the israeli-palestinian conflict, the city of Aleppo…

The conflict is situated in a contemporary context and thereby suggesting that the audience faces the reality can see through the media. We have maintained neutrality in the setting of the conflict, and tried to avoid a manichean approach, knowing both communities are guilty of the similar war atrocities."

Zone de conflit

Lou Denis-Motte, Elena Gaudin, Julie Aguila, ESAA Duperré

by Titouan Le Bourvellec, Salomé Gardon, Kenza Benkhicham

"Our scenography refers to the power games between the Philistines and the Hebrews. Power which is their common target gives rhythm to the text. Our aim is to reveal their personalities. Appeal between Samson and Dalila is apparent through vice/defect. Dalila’s seduction is full of handling, lust, sensuality and enchantment such that Samson becomes trapped. The mountain helps to put power games between the Hebrews and the Philistines on stage. It is reminiscent of the countryside of Gaza and Palestine. The Hebrews always try to climb higher and higher as the Philistines dominate them.
Sets of lights set up contrasts as well as different atmospheres that emphasize the conflict between the communities. Ochre lighting represents the Philistines whereas the Hebrews are suggested with a mineral, dark and cold atmosphere."

Emprise et Illusion

Titouan Le Bourvellec, Salomé Gardon, Kenza Benkhicham, ESAA Duperré

by Violette Ruppin

"Samson et Dalila, a place of conflict, of power. The Hebrews, as a uniform and moving community, are oppressed by the dutiful Philistines. My understanding of the text first deals with the reversal of control : the rise and the fall of Samson due to Dalila’s handling. My purpose is to highlight tensions and the oppression generated by this conflict."

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