Aesthetics.

The aesthetic basis of the project fits in with and boots the discourse itself, breaking the characters norm. We transfer Carmen and her adventures to the street, which already implies several changes since we adapt the costumes and makeup to an urban scenery, and by redesigning the proportions of all props and costumes, we seek to focalise the attention and immediately identify the characters. Following the background of the company’s previous street show, our work is based on an aesthetics both of excess, avoiding lapsing into hideousness, and of overdoing, avoiding distortion, bringing together all the knowledge of a Comedy of Art’s new school.

As for aesthetics, there are two important referents to bear in mind. On the one hand, dancer and choreographer Lindsay Kempt, a master in the composition of images and the use of sexual ambiguity; on the other hand, Catalan comic book artist Nazario, whose homosexually-marked work is a continuous tribute to the most deeply-rooted Spanish myths and traditions, which are conveniently disarranged by the powerful images of his drawings and the poetic force of his scripts.