World premiere September 18, 2010
Dance. In Einstein and the Guest House we get acquainted with promising choreographer Fernando Melo and established choreographer Rui Horta.
Dance production in two parts.
Watch photos from the performance.
The Guest House by Fernando Melo.
Watch a movie from the rehearsal of Fernando Melo´s The Guest House.
Welcome to a very different vision of everyday life! Set on a simple scene, filled with movement artists, secret sounds and magical objects all with a single purpose - to make your fantasy dance. Created by Brazilian artist Fernando Melo, choreographer and dancer in The Göteborg Opera Ballet. Costumes and scenography has been created by Patrick Kinmonth, artist, writer, designer and stylist, who has worked with – among others – Gucci and Valentino. As scenographer and costume designer he has worked with, among others, La Scala, Royal Opera House in London and the Opera in Zurich. With the assistance of Patrick Kinmonth, Fernando Melo creates “a journey through human actions, behavior and everyday duties” but with a twist that attempts to give us a new perspective on the simplest rituals, and even our dreams. Fernando Melo has previously created productions for Dutch Introdans and The Göteborg Ballet.
Einstein´s Dreams by Rui Horta.
Watch a movie from the rehearsal of Rui Horta´s Einstein´s Dreams.
One of the most well-known choreographers in Europe, Rui Horta, works with the two dimensions time and room in his first production for us - highlighting them in different ways, playing with them and creating a dialogue that appears to seek to repeal the difference in between them, as expressed by Einstein in the elegant formula G=8piT. Convex surfaces, interactive projections and a live camera on the scene, able to record words, sounds and expressions, are just some of what is included. The music has been composed especially for this piece by Tiago Cerqueira. The video artist Guilherme Martins creates a variety of pictures of the flow of time in conjunction with the dancers’ movements in the room. Rui Horta, who is moving towards an ever more expressive performance, is the head of a cultural centre in his homeland Portugal. He has created productions for, amongst others, Nederlands Dans Theater, Gulbenkian Ballet, The Cullberg Ballet and Ballet du Grand Theatre de Genève.
Costumes and scenography for Fernando Melo’s new dance production on the Main Stage have been created by Patrick Kinmonth, an incredibly multi-talented creator who also works as a writer, opera director, curator and AD for British Vogue, Gucci and Valentino among others. For the latter Kinmonth was engaged to orchestrate his birthday celebration using the entire city of Rome as his stage.
Kinmonth also served as creative consultant for the historical fashion exhibitions at Metropolitan Museum, which attracted the highest visitor numbers ever seen by the museum. In his role as scenographer and costumes creator Kinmonth has worked at, among others, La Scala, Teatro La Fenice in Venice, Royal Opera House Covent Garden and the Zurich Opera, along with Cecilia Bartoli and many others. Italian Vogue have included a presentation of this “renaissance man” in their series Vogue Masters, which can be viewed on their homepage.
Costumes and Clothes AW10
(AW10: Abbreviation for Autumn/Winter Season 2010, often used within fashion)
Kinmonth’s thoughts regarding the contemporary fashion scene and the importance of clothes in our everyday life will be reflected in the costumes for the dance production The guest house. The Göteborg Opera performance programme for the autumn season of 2010 will also include a series of articles on costumes and fashion. In the programme for Einstein and The guest house you can partake of Kinmonth’s photographs of the costumes created for the production, their relation to the contemporary fashion scene and the signals the latter give us:
”Costumes and clothes are a language and it is spoken all the time! The clothes of today have lost their importance as a signifier of power; if someone wears uniform inspired clothes today it is usually meant ironically and more likely to be a statement against the military and power dressing. The same is true of clothes that have traditionally been seen as ‘male’ or ‘female’– women have played with the concept of male dress codes for a long time, and today we can also see male fashion inspired by women’s wear. It is all about irony and nostalgia for the timelessness of days gone past.”
Costume sketches by Patric Kinmonth.