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Ruggiero from Handel's 'Alcina' (1735) Redesigned - Toile Project

#finalyear #Animal #Costume #design #Fabric #Opera #Performance #Silhouette #Structure #Textiles #Theatre

In my project to redesign Handel's (1735) opera 'Alcina', I focused my research of performance art, movement and the transformation of costume, focused through texture and silhouette. In the opera, Ruggiero is trapped in Alcina's enchantments, a momentary receiver of her affection until she will inevitably grow bored and curse him to roam the island as animal like her many prior lovers. Ruggiero's costume is animalistic and sub-human, connecting him visually to Alcina's cursed victims that roam the island. Preventing him from seeing his true fate or the truth behind it all, he is similarly unable to free himself from the ties and restrictions that Alcina has placed him in - until he is helped by another, and then the ties and weights that restricted him slowly loosen until they are removed and he is free from Alcina's control.

Ruggiero - as Animalistic Midpoint

Enchanted by Alcina, Ruggiero is fated to soon become one of Alcina's prior lovers, cursed as 'animals' to roam the desolate island

Ruggiero's Struggle

Unable to free himself due to the restraints and control Alcina has, Ruggiero is losing his visual humanity and will soon finish his transformation to cursed sub-human roaming the island

Beginning to Regain Awareness

Initial removal of the cowl/spine distortion that once clouded and directed Ruggiero's sight, allowing him to see the truths of the island including his fast approaching fate

Beginning to Regain Awareness - Back

A back view of the costume after the removal of the cowl/spine distortion that prevented Ruggiero from seeing the truths of the island

Regaining Awareness

A removal of the cowl/spine distortion and loosened arms as the truth is revealed and acknowledged by Ruggiero

Regaining Awareness (2)

Fallen hands close up - three dimensional apposable hands, with palm shaping and draped sleeves/arms

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