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Breaking the Fourth Wall
Shooting a play is challenging because you must be ready to seize ‘the moment’ and, at the very same time, think of unusual compositions to avoid the boring ‘frontal’ perspective. Shooting part of the reportage from the backstage of Hamlet, with Giorgio Pasotti and Mariangela D’Abbraccio directed by Francesco Tavassi I had the possibility to experiment the breaking of the fourth wall. This picture is one of the results.
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Counter-intuitive Focus
This photo I took during a reportage for a theatre hosting a concert of Uto Ughi shows a counter-intuitive use of focusing. Rather than go for the obvious option, the attention is shifted on the two musicians in the background capturing their concentration, with the leading violin blurred and conceptually, thus, ‘left behind’. The global effect is reinforced by a neat separation between the dark and light parts of the frame.
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When Colour Helps Composition
This photo I took during a reportage of Miseria e nobiltà – a classic of the Neapolitan comedy by Eduardo Scarpetta – in the mise en scene of Lello Arena e Luciano Melchionna gives a lot of insights on how composition works. The triangle designed by the two actors on the sides and the taller actress in the centre is reinforced by the colours of the costumes: black in the centre, white in the sides. Finally, the purple background behind the black figure enhances the eye-driving effect toward the centre.
