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Jimmy

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Jenny and Begbick - Scene 5

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Jenny beginnings

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Lady Begbick after founding of Mahagonny

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Jenny Main costume

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founders of mahagonny: need to work on that, studying colors

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Working on Jenny's first dress, inspired by "From Havanna" + one of the collages.

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Cydney: costume breakdown chart (experimenting)

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Costume & Stage: Christof Hetzer
(Feli, Staatstheater Stuttgart, 2019)

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on stage
(Feli, Staatstheater Stuttgart, 2019)
Costume Design: Anja Rabes

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during the process

Inspiration was dust-covered businessmen from 9/11, it's the costume the elector wears when he returns from war
(Feli, Staatstheater Stuttgart 2019)
Costume Design: Anja Rabes

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was just for fun during a workshop on dyeing and ageing
(Feli, 2018)

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Two tramps, had to look like they poured mud all over. They used real mud before but because it was wet, the actors got cold and we had to find a better solution
(Feli, Staatstheater Stuttgart 2018)
Costume Design: Christina Schmitt

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Sorry I'm a bit late :(

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cydney design brainstorming

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cydney collage

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cydney square experimentation

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cydney collage

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Scribbled a bit yesterday evening to get a frame, ideas I had in mind which had to be released 😅

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Arrival in the desert - toned down, elderly, ill-fitting, dark, dull, worn-out, old, badly mended, big boots, but colourful headscarf as a sign of hope for better times

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Shan

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Shan

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Alicia's discomforting utopian anti-hero collage -6

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Alicia's discomforting utopian anti-hero collage -6

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Alicia's discomforting utopian anti-hero collage -5

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Alicia's discomforting utopian anti-hero collage -5

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Alicia's discomforting utopian anti-hero collage - 4

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Alicia's discomforting utopian anti-hero collage - 4

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I tried to play around with some colours and textures. Didn't have too much on me but tried my best to play around with some paint and paper.

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Fatima's Sparkling Wasteland: Golden Hopes and Glistening Smoke

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Fatima's Sparkling Wasteland: Golden Hopes and Glistening Smoke

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Alicia's: discomforting utopian anti-hero collage - 3

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Alicia's: discomforting utopian anti-hero collage - 3

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Thinking about the founding of the city of Mahagonny (recreating the anti-hero)

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Alicia's discomforting utopian anti-hero collage 2

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Alicia's discomforting utopian anti-hero collage 2

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atmosphere of scene 2 + "discomforting utopian"

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Jenny and the girls moodboard: Fabrics (I have imagined chiffon, taffeta, organza, silk crepe), then structured silhoettes, midi dresses (120 cm), lingerie night dress, corsets, feathers. At the beginning I imagined them wearing "dirty" and wornd out clothes (when they are arriving with the suitcases, ) and then evolving by wearing the best fabrics and wearing more seductive pieces.

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"The End of an Era" moodboard inspired by the 20's / inspired by the words: Scandal, luxury, eccentric. I imagined the city of Mahagonny as THE city, the city who everyone talks about. And at the same time, everything was changing in that time: the music, the cinema, the politics, the economy. To me Mahagonny represents the end of an era.

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Cydney: workbook collage based off Burning Man festival

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Cydney: Pt 2

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Cydney: workbook collage based off 1920s/30s art and fashion in Germany and America

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Mood for "Joytown"/Mahagony/pleasure/grotesque :)

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Alicia's: flapper's mood / Paris of the 20's / Art deco 

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Alicia's: flapper's mood / Paris of the 20's / Art deco 

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1860s gold fever & Mahagonny feeling & colour palettes

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I'm really sorry my handwriting so small and quite hard to read because had to take a picture

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A “leo” woman from East Berlin with a K

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George Grosz, "Drinnen und Draussen" 1926

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George Grosz, "Drinnen und Draussen" 1926

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Article written by:

Marcus Waithe

‘Modern’ utopias
In 1905, H G Wells published an experimental fiction with the provocative title, A Modern Utopia. The book proposed that tomorrow’s ideal societies would not be like those of the past that saw happiness as a matter of arresting change, of keeping things still. Plato described a changeless society overseen by philosopher ‘Guardians’ in The Republic (c. 380 BC); and in Utopia (1516), Thomas More based his new world on the model of a lonely island state. Isolating the good society was one way of keeping it safe from the world’s corruption. This made islands and mountain valleys an obvious location.

Dream visions

William Morris’s utopian romance, News from Nowhere (1890) also links a personal journey into the future to a process of history. His hero, William Guest, falls out of bed into a London transformed by a socialist revolution. It’s a magical change, but in the end no substitute for the hard struggle of history, as a long section on ‘How the Change Came’ makes fully apparent. In his review of Looking Backward (1887), Morris was critical of what he saw as Bellamy’s ‘tightly drilled’ vision.[3] Instead of a collective end-point, he casts Nowhere as a personal dream, inspired by the dream-visions of medieval literature, but written to prompt diverse striving for better futures. Guest is accordingly ejected from this ideal society at the end of the book, the implication being that happiness is something we will need to work at together.

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Berlin: Ladies of the Night 1920s

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relate to the idea of sheer as a material: when character is asked by female what would he prefer for her to wear under. to which he replies: nothing

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Tried to refine it a bit after we talked about it, that’s why there are two^^

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Fatima's mind map

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1920 Alaska lumberjack

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Speakeasy-aesthetics

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copy and paste this link into your browser : It is an article on American Attitudes towards prostitution all the way until 1920 (avaliable on jstor)

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Resource list

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THE ART CRITIC (link to description on the tate -->>)

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1920 fashion

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Information on the history of the Bauhaus.

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Information on the history of the Bauhaus.

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Art and the people must form an entity ... The aim is an alliance of the arts under the wing of great architecture. Walter Gropius, et al.

Following the end of World War I, the provisional government of the short-lived Free State of Saxe-Weimar-Eisenach in Germany initiated an effort to reestablish two schools, the Weimar School of Applied Arts ( Weimar Kunstgewerbeschule) and the neighboring Academy of Fine Arts ( Hochschule für bildende Kunst), as a single, unified institution. Upon the recommendation of Belgian architect Henry van de Velde, who had previously directed the Weimar School of Applied Arts, the Berlin architect Walter Gropius was invited to head the new school. Gropius's request to rechristen the institution under a new name, Bauhaus State School ( Staatliches Bauhaus), was approved in March 1919.

The school officially opened on April 1, 1919. In a rousing manifesto laced with mystical analogies between creative production and spiritual awakening, Gropius set forth a vision for a new model of education that would unite the divisions between the fine and the applied arts. The director hoped that various forms of artistic practice-painting, sculpture, architecture, and design chief among them-could work in harmony at the new school to produce the socially oriented and spiritually gratifying "building of the future."

Architecture promised the possibility of realizing the total work of art, in which designers, artists, and artisans worked together toward a single, spiritual goal.

Gropius asked one of the earliest figures to be hired at the Bauhaus, the painter Lyonel Feininger, to graphically evoke the spiritual possibilities of this new art pedagogy. Feininger illustrated Gropius's future-oriented vision somewhat counterintuitively with a woodcut image of a gothic cathedral replete with flying buttresses, pointed arches, and rays of light emanating from its steeples. A preindustrial building form, the cathedral promised the possibility of realizing the Gesamtkunstwerk, or the total work of art, in which designers, artists, and artisans worked together toward a single, spiritual goal.

Gropius's radical pedagogical vision subjected the school to considerable political pressure throughout its short life, particularly from the increasingly conservative forces that took hold in Weimar Germany. For this reason, the school was forced to relocate from Weimar to Dessau in 1925, and then from Dessau to Berlin in 1932. The school's demise came at the hands of the Nazis in 1933. Despite continual turmoil throughout the Bauhaus's itinerant existence, its radical pedagogy cemented the school's legacy as a site for artistic experimentation well into the 21st century.

From the 1919 Program

The ultimate goal of all creative activity is the building! To decorate the building was once the noblest function of the fine arts, and the fine arts were considered indispensable components of great architecture. Today they exist in complacent isolation, from which they can only be delivered by the conscious collaboration and cooperation of all craftsmen. Architects, painters, and sculptors must recognize anew and learn to grasp the composite character of building, both as a totality and in terms of its parts so that their work may once more imbue itself with the architectonic spirit, which it lost in salon art.

The old art schools were incapable of producing this unity-and how could they, for art cannot be taught. They must be merged once more with the workshop. This world of mere drawing and painting of pattern-designers and applied artists must at long last become a world that builds. If the young person who senses within himself a passion for creative practice begins his career, as in the past, by learning a trade, then the unproductive 'artist' will no longer be condemned to imperfect artistry because his skill will be preserved in craftsmanship, where he may achieve excellence.

Architects, sculptors, painters, we all must return to the crafts! For there is no such thing as 'art by profession.' There is no essential difference between the artist and the craftsman. The artist is an exalted craftsman. Merciful heaven, in rare moments of illumination beyond man's will, may allow art to unconsciously blossom from the work of his hand, but the foundations of craft are indispensable to every artist. This is the original source of creative design.

So let us then create a new guild of craftsmen, free of the divisive class pretensions that attempted to raise an arrogant barrier between craftsmen and artists! Let us together will, conceive, and create the new building of the future, which will unite everything in a single form-architecture and sculpture and painting-and which will one day rise heavenwards from the hands of a million craftsmen as a crystalline symbol of a new and coming faith.

-Walter Gropius

Notes

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Art and the people must form an entity ... The aim is an alliance of the arts under the wing of great architecture. Walter Gropius, et al.