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SO F I A
AR R ED O N D O
sofia.arredondo.r@gmail.com +1 917 216 7002 New York, NY
TABLE OF CONTENTS
STAG E
D ESI G N
01/ IMMOLATION ............................................... 1/ 02/ MARACANAZO ..............................................5/ 03/ ELEFANTE POLAR ......................................... 9/
SET
D ES I G N
01/ EL FANTÁSTICO MUNDO DE JUAN OROL ....... 13/
S T A G E
D E S I G N
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PROJECT: Stage design 2009 ROLE: Stage design assistant AGENCY: Cuarto-b CLIENT: INBA
I N M O L A C I Ă“ N I N M O LAC I Ă“ N is a play for school theater that addresses the issue of youth SU I CI DE in an innovative way.
The proposal changes the traditional scenographic spatial arrangement in which the actor relates to the viewer, which contributes to the momentum generated in the work. The space consists of a HEXAG O NAL STR U CTU R E in which each side shows a different scene within the story. The audience is located at the center of the structure, seated on stools that are distributed on a flat printed floor with the image of a C I R C U I T that connects them between each other referring to complex cyber world. The six areas that make up the set are interspersed with 40 LI G H T BOXES of different sizes that project images related to the work and particularly to each scene. The space is complemented with 4 interactive V I DEO SC R EEN S symmetrically distributed in the space, that work with the scenery and plot of the story in the creation of an unconventional space, which gives the audience a closer look at this very difficult and current reality.
This project was selected to be part of the mexican pavillion in the Prague Quadrennial of Performance, Design and Space 2011
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1/ AUDIENCE ARRAY. CIRCUIT BOARD 2/ PERFORMER-AUDIENCE 3/ BOY’S BATHROOM 4/ GIRL’S ROOM 2/
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1/ MEDICAL CENTER 2/ GIRL’S ROOM 3/ COMMON SPACE 4/ COMMON SPACE 5/ BOY’S ROOM 6/ BOY’S BATHROOM
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PROJECT: Scenography. 2012 ROLE: Stage design and props AGENCY: Cuarto-b CLIENT: CUT/ UNAM
M A R AC A NA Z O M AR AC ANAZO is a play written and performed to commemorate the 50th anniversay of CUT (Theatre University Center). Defined as a musical samba-tragedy in three acts, Maracanazo combines elements of greek mythology and the famous tragedy of Maracana, Brasil in the 1950 World Cup. The concept behind the scenic design comes from the idea of creating a DY NAM I C P ER FO R M ANCE SPACE that becomes a laboratory of experiences. It rejects the idea of staging as a set or a scene that tries to imitate pictorial reality, and instead preserves the “architectural scene�, in which a SY M BO LI C EN T I TY relates to all elements of the play and forms a whole. The sequence of events takes place in different times and spaces, mixing reality with fantasy, the sacred and the mundane, it tells different stories that converge on one historical fact, which speaks of struggle, revenge, and punishment. There is an analogy between life, drama and game.
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The elliptical structure of metal acts as this SYM BO L I C EN T I TY that throughout the play is transformed to perform different functions. An element that divides the R I TUAL SPAC E from the ordinary.
It becomes a path for the sacred, a roof to the earthly, the visual abstraction of a stadium and a window to the universe of Greek mythology. It is an ACTI V E EL EM ENT of the theatrical convention, and it establishes a direct relationship with the characters.
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1/ 3D MODEL. ELEVATED STRUCTURE 2/ 3D MODEL. LOWERED STRUCTURE 3/ SCENE 30. NYMPHS AS STEWARDESSES
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4/ SCENE 40. CARNIVAL REHERSAL 4/
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On each side, there is a row of LO C K ER S, which have a practical function, because all the props are stored there and they are manipulated by the actors themselves. Among the lockers were placed various BEN C H ES , where actors wait to enter ritual space, but at the same time are part of the scene in a passive way. For P R O P D ESI G N we followed the same concept SY M B O L ISM to establish space and time, using different materials and giving each object a symbolic load that goes beyond its denotation.
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1/ ALUMINUM TRUSS 2/ LOCKERS AREA 3/ SCENE 60. FUTBOL GAME 4/ SCENE 10. JOSEPH MENGELE 5/ SCENE 50. REPORTERS ON BARBOSA 5/
6/ SCENE 50. REPORTERS ON MENGELE
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PROJECT: Design and production of travelling stage 2011 ROLE: Designer AGENCY: Cuarto-b / Triciclo Rojo CLIENT: CONACULTA
E L E FA N T E P O L A R Elefante Polar is a TR AV EL L I NG SYSTEM FO R
STAG E P R O D U CTI O NS that offers a new forum adaptable to different spaces, expanding the possibilities of scenic representation, from video projections, theater and dance, to concerts. It is a I T I N ER ANT
and SEL F-SU STAI NABL E
system that consists of a representation space and circulation area for interpreters. It is integrated by a M ETAL
ST R U C T U R E a supportive I NFL ATABL E CANVAS enclosure, an integrated cocking mechanism a
modular
platform, as well as audio and lighting equipment adaptable to each assembly.
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PROJECTION SCREEN
INFLATABLE CANVAS
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1/ PERFORMANCE DURING DAYTIME 2/ LIGHTSHOW IN ELEFANTE POLAR
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S E T
D E S I G N
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PROJECT: Set Design for feature film. 2010 ROLE: Set Decorator AGENCY: Cuarto-b CLIENT: /
T H E FAN TAST I C WO R L D O F JUAN O R O L tells de story of Mexico’s half-forgotten B-movie master, “involuntary surrealist” JUAN O R O L (1897–1988), a selfmade man of showbiz whose career spanned half a century and nearly 60 films. An homage to the golden age of cinema, the wiles of memory, and the art of fantasy. The story covers a large period of time of the 20th century and it takes places in different parts of the world. The art department along with the rest of the crew developed a thorough investigation to analyze the aesthetic principles of each time and place to create different worlds and take the audience back to those specific moments of history.
ES PA ÑA S ONO F I LM S OF F I CE. 1 9 5 0 . M EXICO CITY
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1/ MOVIE SET. FANTASTIC HIPPIES WORLD 1970 2/ OROL’S PRIVATE STUDYROOM 1935 3/ CABARET 1935 4/ ESPAÑA SONO FILMS 1950
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