Il
Barbiere di Siviglia
Lauren Sell
Professor Catherine Thompson
Art 211
October 1, 2014
Mise en scene
refers to the visual elements that make up a theatrical performance. In theatre,
opera or film directors use mise en scene to provide a visual that can be
realistic or fantasy. There are four components to mise en scene: setting,
costumes, makeup, lighting and staging (Bordwell and Thompson 115). Often each component
follows the same theme.
The setting
component informs the audience with a backdrop for where the story is being
told. The setting also presents a background story to the audience about the
characters. In Il Barbiere di Siviglia Rosina’s home has a
chandelier and marble pillars, indicating that she is wealthy. This is never
stated, yet you can imply that she is. During this opera, the majority of the
sets are in black and white. At the end of the opera, the set and costumes are
colorful. The black and white sets and costumes may imply that Count Almaviva
and Rosina are depressed, since they are not together. As soon as Count
Almaviva marries Rosina, the set and costumes become colorful. This symbolizes
their happiness. The setting can strengthen the emotions felt by the characters
or create a mood (Litch, Prunes and Raines). During the opera, the sets changed
during the performance. Typically, you will see stagehands wearing camouflage as
they move sets, but this was not the case.
Another
component to mise en scene is costume and makeup. Costumes can be used as
either functionality of the characters role or purely for graphic aesthetics (Bordwell
and Thompson 119). Color used for the costume design of the character can be
either bold and varied between characters or blended in order to create a mood
throughout the entire set. Costume and setting can contribute to the narrative
progression of the opera (Bordwell and Thompson 121). In Il Barbiere di Siviglia, Count
Almaviva employs Figaro, the local barber to disguise Count Almaviva in various
costumes and wigs in order to sneak into Rosina’s home to see her. During the
majority of the opera, Count Almaviva is trying to win over Rosina and the
costumes are black and white, just like the setting. Additionally, polka dots appear
on many of the costumes and sets. Rosina, Count Almaviva and Figaro all wear
polka dots, but the antagonist Bartolo wears stripes. In the second act color,
is gradually introduced to the costumes. First only the gloves of the soldiers
have color, then crimson and fuchsia appear on the costumes of Count Almaviva,
Rosina and Figaro. At the end of the opera the entire cast wear bright colors.
These bright colors symbolize the love between Count Almaviva and Rosina and
their promising future together. Hairstyle plays a significant role throughout
the opera. Figaro, who is a barber, uses wigs to disguise Count Almaviva. Makeup
also ties along with costume in adding ambiance to the story. Makeup can be used
to disguise, convey emotions, or create a certain personification. As
previously mentioned in Il Barbiere di
Siviglia, Figaro uses an
assortment of makeup to disguise Count Almaviva so he is able to fool Bartolo.
A third component of mise en scene, lighting, consists of
three parts: intensity, direction, color and quality (Litch, Prunes and Raines).
Lighting provides a practical aspect which allowing the audience to see the
performance. Lighting also can provoke emotions from the audience. In Il Barbiere di Siviglia, the director uses bright,
cold lighting to accentuate the feeling of sterility. The colorless lighting
symbolizes the dull life Rosina must endure with Bartolo. Additionally, flashing
lights are used to represent a lighting storm. The flashing lights also
represent a passage of time. Similarly to the costume and setting of the opera,
the lighting becomes colorful after Count Almaviva and Rosina are married. The
director uses lighting to guide our attention to something specific that the
director wants to emphasize. When Count Almaviva and
Rosina hug there are bright colorful lights. Additionally, directors use
shadows to conceal something or build suspense (Bordwell and Thompson 125). When soldiers
confront Count Almaviva in Rosina’s home the lighting dims to signify suspense.
Mise en scene contains one final component, staging. This
opera’s stage setting allows the characters to face the audience directly or at
an angle. The distance and proximity between characters provides a clue in to the
type of relationship they have. In Il Barbiere di Siviglia, Count
Almaviva and Bartlolo stood at a distance from one other, which signified they
were enemies. Count Almaviva and Rosina were physically close and faced inwards
towards each other signifying their love for one another. Like many operas most
of the characters showed dramatic facial features and hand gestures to convey
their emotions. Many of the conversations between the characters involved using
exaggerated hand gestures. These hand gestures emphasized emotions between the
characters.
Il Barbiere di Siviglia is the first opera I have seen. I have always
been under the impression that all operas were archaic and irrelevant. This
opera completely changed my view of this. I think the storyline is timeless and
the opera was entertaining. I discovered that a lot goes in to making an opera
besides singing, but also set design and acting. I cannot even imagine the
thought that must go into how to design the set or what color lighting there
should be during a particular scene. I definitely have a greater appreciation
for opera then I did previously. In watching this opera I was at amazed the
talent the opera singers have and the endurance it must take to sing for so many
hours with few breaks. It is almost as if they are athletes.
The first performance of this opera failed (Schwarm). The
composer released an incomplete opera with unprepared performers leading to
this failure (Schwarm). The audience booed and hissed throughout the entire
performance. Even supporters of Gioachino
Rossini, the composer, found the opera
offensive. For the second performance, Rossini chose not to attend due to the
reception of the first performance. Unlike the first performance, the audience
met the second performance with enthusiasm and praise (Schwarm). After the
second performance, the audience gathered outside of Rossini’s home to cheer.
Due to the instant success of Il Barbiere di Siviglia,
the opera spread across Europe. Continued success in Europe led to the
expansion of the opera in to United States (Schwarm). The comedic aspect of
this opera provided uniqueness among other operas during the same time
period. This uniqueness allowed the
opera to succeed globally. So much, that Il Barbiere di Siviglia is still popular and performed regularly.
Since Il Barbiere di Siviglia is one
of the first comedic operas I think it helped
to open doors for future comedic
operas. This opera is strictly comedic; there are no deaths or tragedies
In Il Barbiere di Siviglia technology is minimally used in the staging of the opera. Sets are moved by
the townspeople, and this is quite evident as they do not try to camouflage
themselves. One technology that is used throughout the opera is lighting. The
majority of the lighting is white or blue, but towards the end of the opera
there is a scene with flashing lights to represent lightning. At the end of the
opera colored lighting is used. In that same scene, kites are illuminated with
colored lights and swirl around a hot air balloon. The kites are able to move
around the hot air balloon without tangling strings with the hot air balloon.
As
stated previously, this is the first opera I have seen. I assumed that opera
was boring, and hard to follow, but this was not the case. I found it to be easily
to follow, quite entertaining, even funny at times. I never realized of all the
artistic elements that make up an opera, and all the thought that goes into
every scene. While watching Il Barbiere di Siviglia I developed an eye for even the
minutest detail, such as the polka dots on the costumes. This opera has opened
my eyes, and I would like to explore other operas.
The game I created is based on the plotline of Il Barbiere di Siviglia called Master of Disguise. It is a platform
game meaning that the player must go through a series of obstacles to advance
the game. It is a third person game, in which the player is visible on the
screen. The player must successfully complete eight levels in order to win the
game.
Master of Disguise is for a single
player, the player of the game is Count Almaviva, a wealthy nobleman who is
trying to win the heart of Rosina. She is ward of Bartolo, a controlling doctor
who wants to marry her. Count Almaviva, must seek the help of the local barber,
Figaro, in order to disguise himself so he can sneak into the home and marry
Rosina. There are several people that Count Almaviva must sneak past in order
to get to Rosina: guards, soldiers, the housekeeper, Berta, the music tutor,
Don Basillo and Bartolo. If at any point during the level Count Almaviva fails
the challenge and is caught he must return to Figaro for a new disguise. Once
he receives a new disguise he can attempt the level’s challenge again. He is
allowed to return to the barber three times. After the third time failed
attempt the game starts at the beginning. The objective of the game is to win
Rosina’s hand in marriage by successfully completing eight levels with 9
challenges. Each level has one challenge, except for the last level which has
two challenges. Each level has progressively harder challenges.
The setting of the game is a small town in Spain during
the early nineteenth century. There are three main locations the game takes
place: Figaro’s barbershop, outside Rosina’s home and inside of her home. With
the exception of Figaro’s barbershop all the locations outside and within
Rosina’s home have challenges that Count Almaviva must complete in order to
move on to the next level. The challenge’s locations are outside Rosina’s home,
the balcony, kitchen, study, hallway, Bartolo’s bedroom and Rosina’s bedroom. Similarly
to the opera, Rosina’s home is very orient and beautiful. Although not
important towards the objective of the game each room is decorated with art on
the walls and furniture. There are high ceilings, chandeliers and marble
pillars within the home.
Master of Disguise creates
a default appearance for all characters except Count Almaviva. All of
appearances reflect how they look in the opera, Il Barbiere di Siviglia.
Figaro is tall, slightly overweight and has short black hair. He wears a white
shirt and pants with a black polka dot vest. Rosina has curly black hair and
wears red lipstick. Her outfit is a long white dress with short sleeves and
black polka dots. Bartolo is very
overweight, with long grey hair that is gathered in the back with a tie. He
wears black pants, with a white shirt and a black and white striped vest. The
maid, Berta has short hair that is covered by a white headwrap. Her appearance
is disheveled and she has dirt on her face from cleaning. She wears a long
white skirt and a black shirt. The music tutor, Don Basillo wears black
pants, a white shirt and a long black coat. His hair is long and white. The
guards and the soldiers, who protect the home, are meant to look intimidating.
They all wear black outfits, tall hats, with black leather boots. In the game,
anytime Count Almaviva encounters one of these people the music becomes loudn
and dramatic. When the player wins a challenge a victory song plays.
Before the player can begin the game he must visit Figaro,
the barber to choose a disguise for his avatar, Count Almaviva. The disguises
include outfits, shoes, accessories and wigs. The wigs have a variety of
styles, lengths and colors. The player can choose from three different
disguises: a drunk, a solider or a music tutor. The costumes choices for the
drunk are tattered outfits with holes and stains. The outfits only include one
shoe. The player can pick from a variety of flasks to accessorize the costume.
The wigs for the drunk are messy and matted. Costumes for the solider include
uniforms and boots in a variety of colors. The player can accessorize the
costume with a hat and gloves. The wigs are short hairstyles. The outfits for
the music tutor include a variety of dress pants and buttoned shirts. The
player can accessorize with a musical instrument. There is a variety of wigs to
choose from including short and long hairstyles.
Once Count Almaviva is in disguise he can begin the first
challenge. In level one, the location is below a balcony outside of Rosina’s
home. The challenge is to climb the wall to the top of the balcony without
being hit by a spotlight. The spotlight moves in many different directions so
Count Almaviva cannot simply climb straight up the wall. The best strategy is
to move slowly up the wall to avoid being hit. If Count Almaviva is hit by the
spotlight he is considered caught and must return to the barber for a new
disguise. If he is successful he can move on to level two.
In level two, the location is on Rosina’s balcony. There
are guards protecting Rosina’s home from intruders. Count Almaviva must jump
over the guards in order to get into Rosina’s home. There are six guards and he
must jump over all of them to complete the challenge. If he misses and falls on
one, he is considered caught and must return to the barber for a new disguise.
Once Count Almaviva enters inside the home he is in the
kitchen. The maid is there throwing dustpans towards him. The dustpans are
being thrown straight towards him, but at different heights. For level three he
must get across the kitchen to the next room without being hit by a dustpan. In
order to avoid the dustpan Count Almaviva must either jump or crouch. If he is
hit by one of the dustpans before he makes it to the other room he must return
to the barber for a new disguise.
The next room Count Almaviva enters is the study. The
challenge for level four is to bribe the music tutor, Don Basillo into passing
through the room. Count Almaviva has three gold coins and he must successfully
throw one into the tutors moving instrument case. The case moves from left to
right, but Count Almaviva cannot move. He must stand stationary, while trying
to throw a coin in the case. If he successfully throws one of the three coins
in the case he advances to the next level, if not he must return to the barber.
In level five, the soldiers have set up a hallway with
swinging axes that hang from the ceiling. Count Almaviva must run through the
hallway without getting hit by one of the axes. He is able to stop and run as
he pleases in order to avoid the axes. There is space between each axe so he
can stop without getting hit. If he successfully makes it through the hallway without
being hit by an axe he can advance to the next level, otherwise he must return
to the barber.
Once Count Almaviva makes it past the hallway he enters
Bartolo’s bedroom. Bartolo is in his bed sleeping Count Almaviva must avoid
walking on alarms that Bartolo has set up. The alarms are scattered throughout
the bedroom and move in various directions. To avoid these moving alarms Count
Alamaviva can jump, run, or walk around them. If he accidentally touches one of
the alarms it will make a noise to wake-up Bartolo. Once he awake Count
Almaviva is considered caught and must return to the barber. If he succeeds he
can move on to the final level.
For the level eight, the final level, there are two
challenges. Count Almaviva must jump over a pit filled with water in order to
reach Rosina’s bedroom. The flooring on each side of the pit is quickly
expanding and contracting. Count Almaviva must time his jump so he does not
fall in the pit. If he successfully makes it across he can enter Rosina’s
bedroom, but if not he must return to the barber. Once he gets inside Rosina’s large
bedroom she is hiding somewhere. Her bedroom is similar to a maze and has dead
ends. Count Almaviva has thirty seconds to find her If he does not find her
within thirty seconds he must return to the barber for a new disguise. Rosina’s
is never hiding in same place, so Count Almaviva cannot easily find her every
time. If he finds her within thirty
second he must grab her hand. It symbolizes their marriage and the player has
won the game.
Works
Cited
Rossini - Il
Barbiere Di Siviglia (The Barber of Seville).
Dir. Emilio Sagi. Perf. Juan Diego Florez and Ruggero Raimondi. Youtube.com. 17 Nov. 2012. Web. 13 Sept.
2014.
Schwarm, Betsey. "The Barber of Seville." The Barber of Seville (opera).
Encyclopædia Britannica, 08 Sept. 2014. Web. 18 Sept. 2014.
Thompson, Kristin. "The Shot: Mise En
Scene." Film Art: An Introduction.
By David Bordwell. 7th ed. McGraw-Hill Companies, 2002. 115+.
