FEDORA

Opera Prize
Nominee 2022

Jury
Nominee
Façons tragiques de tuer une femme (working title)

France
Théâtre des Bouffes du Nord

€20
collected

€50,000
target

1

Number of donors

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A one act chamber opera without orchestra about t what it means to be a wonder woman in today's context and how this imperative can provoke internal death.

About the Project

In Soh's new one-act chamber opera, the disparity of treatment between men and women is articulated through the life and loves of the women on stage. Taking inspiration from the Greek tragedies, this modern-day representation showcases the full and timeless spectrum of micro- aggressions and violence against women.

Inspired by the book Façon tragique de tuer une femme by Nicole Loraux, this project examines systemic violence against women using the greek tragedies as a springboard. The entire opera set itself will be the musical construct that demonstrates these timeless domestic problems.

This project creates an ambitious opportunity for the writing of the music staging and text to be done in parallel such that all 3 aspects are so highly intertwined, the result will be a true collaborative work that melts from one domain to another.


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Diana Soh’s highly-detailed score will precisely define the physical movements for the performers, creating an unusual, “noisy” rhythmic backdrop to the singing, turning mundane tasks like stirring one’s tea, chopping vegetables and turning a page into music.

The project will explore systemic violence and domestic issues with a focus on power structures in relationships. We will concentrate on the exploration the notion of dominance in a heterosexual relationship and the idea of female empowerment. We want to emphases the non-literal types of deaths that kills one on the inside and the inescapability of the mundane, everyday lives of our main characters. also give a portrayal of what a modern day wonder-woman might look like.

Why should you support us?

The issue of the opera makes it of course very relevant and actual.

The format of the opera, with no orchestra, close to musical theater questions the opportunity to propose new forms in opera field and to reach other audiences, new audiences.

The process of creation is based on several workshops and rehearsals periods which makes possible for the text and music to be until very late under development. Librettist, composer and stage director will work in a permanent exchange, in a very close collaboration and will experience and test together the material they will produce as for ecriture de plateau. in opposition to old opera creation model where the libretto exists before music and music before staging

Objects as instruments

The objects on stage and the entire opera set itself are an intrinsic part of the musical construction. The sounds that result from the movement of the actors and singers on stage are part of the musical set up and they are part of the story telling device. The object-sounds are literally the orchestral accompaniment to the singers, the movements and thus sounds never stops in all 3 apartments even when the spotlight in on one particular apartment. The totality of the body and gesture is very important to this project as the scenography itself constitutes the actual orchestra for this opera.

Who are we?

The Théâtre des Bouffes du Nord

With a program oriented towards musical theater, contemporary opera, and making a large place for theater and all kinds of music, the Théâtre des Bouffes du Nord accompanies contemporary creation with 3 to 6 new productions per season around a new generation of artists and directors as well as faithful collaborations with great names in theater such as Peter Brook or Denis Podalydès.

Today, the Théâtre des Bouffes du Nord offers 250 performances of about 50 shows and concerts in the theatre each year, as well as between 200 and 400 performances on tour each season in some 40 French cities and on five continents.

A theater open to the world, but also concerned with transmission: anchored in the Parisian landscape, on the border of two working-class districts, the Bouffes du Nord reaches out to audiences who are far from culture and have priority: local school groups, rehabilitation associations, etc.

This unprecedented economic model for a performing arts institution is mainly based on a production logic, with more than 60% of revenues linked to delegated production and distribution, and by controlling operating costs.

Diana Soh

Diana Soh

Composer

SABRYNA PIERRE

SABRYNA PIERRE

Writer

Lisenka-©-Avinya-Wyse-staand

Lisenka Heijboer Castañón

Stage Director

Partners

Aix en Provence Festival

Aix en Provence Festival

France

logo_ircam_noir

IRCAM

France

Supporters

Anonymous donated 21 hours ago

Pledge without a reward

Incorrect value. Please check the field

If you are a company or tax resident in Belgium, Bulgaria, Croatia, France, Germany, Greece, Hungary, Italy, Spain, Switzerland or the United Kingdom and do not wish to receive the associated crowdfunding benefits, you can receive a tax receipt instead. To do so, please click on “Pledge without a reward” and type in the amount you wish to donate.

Please note that according to the Charities Aid Foundation, UK residents can only obtain a tax receipt for donations between GBP 100 and GBP 9,999.

Please note that according to the Swiss Philanthropy Foundation, Swiss residents can only obtain a tax receipt for donations of minimum 100 CHF.

Donations as of €5 are still possible via FEDORA's payment page for anyone wishing to make a donation of under £100 or 100 CHF without receiving a tax receipt.

Learn more about possible benefits or tax deductions related to your donation here.

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