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  • 2 years ago

La murga is a mixed of colors, costumes, music and social performances celebrated in Uruguay.
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Transcript
00:00 Now we go to another location of the carnival,
00:02 celebrations in the Caribbean and Latin American countries.
00:06 In this case, let's go to Uruguay,
00:08 where La Murga is a mix of a good script, colors, customs,
00:12 music, and kind of social contestatory performances.
00:16 Let's see that.
00:19 February is carnival time, and in Uruguay, it is Murga time.
00:23 Murgas embody the artistic essence
00:25 of the Uruguayan people.
00:26 Every year, they display creative proposals
00:29 that embrace ingenious scripts, along with vibrant costumes
00:32 and makeup without which it is impossible to fully appreciate
00:36 their artistic expression.
00:38 Lucia has been a costume designer
00:39 for more than a decade and knows very well the importance
00:42 of costumes for the Murga.
00:44 The Murga show, of course, like any stage show,
00:53 has many layers and many levels of symbols and codes
00:56 that are transmitted.
00:57 But the wardrobe, in this case, has an important weight
01:01 because it is practically more than the scenography.
01:04 I think that the wardrobe work has a kind of scenography
01:07 in the Murga show.
01:08 It gives an aesthetic frame to the whole text, which
01:11 is the communication part.
01:13 It's like the fundamental part.
01:15 The construction of a Murguero show takes many months.
01:24 During that time, artistic concepts in all their dimensions
01:27 are being discussed--
01:28 the lyrics, the wardrobes, and the makeup.
01:32 The role of the wardrobe designer always is, of course,
01:35 is to contribute from the aesthetic,
01:37 but also from the conceptual.
01:39 It isn't an idea just because it is pretty, right?
01:42 It is how the wardrobe is also saying things.
01:45 And those things are in the union
01:47 with what the Murgista is expressing with her signing.
01:52 Another essential scenic facet of the Murga is the makeup.
01:56 During hours, the makeup team builds up
01:58 the plastic dimension of this artistic proposal.
02:00 It always starts from the idea that we want to say
02:06 or that wants to be told.
02:07 It's like out of nowhere, and then it
02:09 flows in many different forms.
02:11 Sometimes it is said in a more luminous way.
02:14 In other ways, unifying the code of the art.
02:17 From there, it is created as a group
02:19 because it is purely collective.
02:21 It is wardrobe.
02:22 It's scene.
02:23 It's very collective.
02:24 I mean, there are costumes, there are scenes.
02:27 Colors, shadows, and highlights emphasize
02:30 each aspect of the show.
02:31 These factors must act in a coordinated manner
02:34 for the thread of the show to be coherent and powerful.
02:36 They are an essential component because they
02:44 are the end of the construction of the characters.
02:46 In working with the costume designer, who
02:48 is the one who designs the costumes,
02:50 we are elaborating the threads of the show
02:53 where the narrative of the show is going
02:55 and how the costumes are going to develop throughout 45
02:57 minutes, which is how long a Murga song lasts.
03:00 The costumes, makeup, and lyrics complete a unity
03:07 that turns the Murga into a unique show that transmits
03:10 idea, aesthetic concepts, and sensations that are already
03:14 part of the Uruguayan identity and that
03:16 is re-edited every February.
03:19 Matteo Grigio, Telechurdo.
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