TO END THIS COLLABORATIVE series we look at the levels and layers of a stage set: the physical presence that acts as a gate to the viewer’s parallel consciousness. A subject is projected or suspended as a magnified and isolated version of herself on stage, her subconscious is suddenly and clearly manifested and consumed by the audience. Distance is the function for the immediacy of events on stage, hence increasing the need to put others and ourselves on a sort of pedestal in order to be conceived as close. This contra-relation is rendered visible in the following images illustrating the layers – both in set and projected image – that are used in the visually constructed realms of theatre, fashion and art.
‘Fröken Julie’, written by August Strindberg, directed by Katie Mitchell, 2013.‘The Metamorphosis’, written by Franz Kafka, directed by Alex Ollé, 2005.‘4-48 Psychosis’, written and directed by Sarah Kane, 2004.‘Tristan and Isolde’, written by Wieland Wagner, directed by Peter Sellars, scenography by Bill Viola, 2005.Alexander McQueen, spring/summer 2010 ‘Plato’s Atlantis’.Lacoste, spring/summer 2012.Cecil Beaton, Vogue, 1944.Peter Lindbergh, 25 Magazine, autumn/winter 2013.Dolce & Gabbana, spring/summer 2003 campaign, photography by Steven Meisel.‘The Life and Death of Marina Abramovic’, directed by Robert Wilson, 2012.Thierry Mugler, autumn/winter 1984.Alexander McQueen, spring/summer 2000 ‘Eye’.‘Three Tall Women’, written by Edward Albee, directed by Allison Narver, scenography by Matthew Smucker, 2010.Nina Ricci, spring/summer 2014.Bill Blass, autumn/winter campaign 1994, photography by David Seidner.Chanel, spring/summer 1997, photography by Karl Lagerfeld.
Anna Ellinor Sundström is a photographer, filmmaker and founder of VNIVRS.
