Così Fan Tutte

At the centre of Kriszta Székely’s Così fan tutte is the idea of identity as something fluid and performative. Mozart and Da Ponte’s game of disguise is brought into a contemporary world shaped by social media, online dating, and carefully constructed self-images, where changing a role, a partner, or even a version of yourself can happen almost instantly.

The characters are not only testing each other’s fidelity; they are trying out different versions of themselves. As the game unfolds, performance begins to bleed into genuine attraction and the identities they started with become increasingly uncertain. The idealised digital world surrounding them reflects that instability, constantly offering another image, another possibility, another self.

We created the dominant visual environment of the production around this collision. Instead of treating video as an additional layer placed onto a conventional set, we used large-scale moving image as the principal scenic materials. Together with the sparse physical elements and LED structure, the projections continuously rebuild the stage, shifting between digital spaces, hyper-stylised online imagery, pop-concert spectacle, and more exposed moments of reality.

Set against the raw industrial architecture of the Eiffel Art Studios, this constantly transforming image-world becomes both scenery and dramaturgy: an unstable surface onto which the characters project who they are, who they want to become, and who they want others to see.