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2013年 07月 20日

デイヴィッド・ホックニーの公演プログラム「UBU ROI」(1966)

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1962年にロンドンの王立美術大学を首席で卒業したデイヴィッド・ホックニー(David Hockney, 1937-)は、早くも四年後の1966年に、ロンドン王立劇場(The Royal Court Theatre)からシュルレアリスムの演劇や美術に多大なインスピレーションを与えたアルフレッド・ジャリ(Alfred Jarry, 1873-1907)の戯曲「ユビュ王(Ubu Roi, 1896)」(註1)のための舞台装置と衣装のデザインを依頼されている。アカデミックな表現に囚われない自由な具象表現の可能性を模索しつつ、国際的な版画展での受賞を機に、版画家としても頭角を現し始めていたホックニーは、この年、エッチングによる最初の連作「放蕩者のなりゆき(The Rake's Progress)」(1961年~1963年制作)に続く二作目のエッチングの連作「カヴァフィの14編の詩のための挿絵」の制作に取り掛かっており、「ユビュ王」とこの仕事を、ロサンゼルスとロンドンを行き来しながら、同時進行で進めている。「ユビュ王」はホックニーが本格的に舞台美術に取り組んだ最初の試みであり、ホックニーはそのことについて、1976年に出版された自伝的画集「David Hockney by David Hockney」の中で次ぎのように語っている:以下引用
《Ubu Roi was the first of two things I've designed for the stage - the second was Stravinsky's The Rake's Progress, in 1975. I was aked by the director of Ubu Roi, Ian Cuthberson, if I'd design it. I knew Alfred Jarry a little bit; I'd even read the play before, but I didn't really remember too much about it. So I agreed to do it when I read it again. You can invent lots of things because Jarry gives lots of instructions: Don't bother about scenery, just put a sign up saying 'Polish Army'; and that really appealed to me. And some of the sets are just like that. The Polish Army was just two people, and we tied a banner round them, and it just said 'Polish Army'. It was fun doing it. Campared to The Rake's Progress later, it was much simpler, a simpler concept.

When I was asked to do it, I remember I put up a little resistance, saying I didn't think I could. After all, in paintings before that I had been interested in what you might call theatrical devices, and I thought that in the theatre, the home of theatrical devices, they'd be different, the wouldn't have quite the same meaning as they do in painting, they wouldn't be contradictory - a theatrical device in the theatre is what you'd expect to find. So I agreed to do it without knowing how to do it. I made drawings. I took each and make a drawing of it. They worked from those.

The concept was basically very simple: little painted backdrops, much smaller than the stage. They were like big paintings, about twelve feet by eight feet. They dropped down with big ropes on them, like a joke toy theatre, and on one of them there was a big rope falling down the side on the the stage. I said why have you put that there? And they said It's in the drawing. And in the drawing I'd drawn a line ike that and then corrected it to draw the straight edge. My god, they're just so literal, I could believe it. But then I realized that's how scene painters work; they just copy exactly what you do. It was very enjoyable, working on the play. I did the custumes. It was a thing where you could invent all kinds of things. For instance, for the parade ground, when the characters come on, they each carried a big letter, and they put them down on the stage, and it spelt 'Parade Ground'. This was consistent with Alfred Jarry saying Don't bother about scenery. 》from "David Hockney by David Hockney"edited by Nikos Stangos, published by Thames and Hudson, 1976, PP 103

これはロンドン王立劇場での公演プログラムで、ホックニーはエッチングの画面を彷彿させる表紙のデザインとタイトルページ用の挿絵を一点制作している。

●作家:David Hockney(1937-)
●種類:Program
●サイズ:221x141mm
●技法:Letterpress
●発行:The Royal Court Theatre
●印刷:G.J.Parris Ltd., London
●制作年:1966
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1992年から1993年にかけて日本各地を巡回した「ホックニーのオペラ展」の図録
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年譜より


註:
1.
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1940年代に出版された「ユビュ王」の書影
[PR]

by galleria-iska | 2013-07-20 13:27 | その他 | Comments(0)


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