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1975至1981年间,当代绘画大师大卫·霍克尼(David Hockney,1937-)为英国格莱德堡歌剧院(Glyndebourne Opera)设计了两部歌剧,一部是《浪子的历程》(Rake’s Progress),另一部是《魔笛》(The Magic Flute)。在这六年间,他也为美国纽约大都会歌剧院(Metropolitan Opera)做了两个的舞蹈和歌剧的演出宣传单设计。这些演出中的布景和道具设计成为英国约克郡索尔泰尔(Saltaire)盐磨房(SaltsMill)中大卫·霍克尼作品展中永久性展示的一部分。作品不仅包括服装设计和演出中的两幕布景设计,也包括他为本展览所做的几个大型的舞台设计模型,以及在1983年美国沃克艺术中心(WalkerArtCenter)和1985年英国伦敦海华美术馆(Hayward Gallery)展出的舞台绘画作品。这篇文章旨在探究一位艺术家艺术作品风格的转换,以及绘画艺术语汇如何转变成演出中的造型设计,并再一次升华为艺术主题。从最初的设计灵感到整个设计作品诞生过程中的每一个细节,这一切都记录在他的本子上并永久性地展示在盐磨房中。
Between 1975 and 1981, contemporary painter David Hockney (1937-) designed two operas for the Glyndebourne Opera in England, one entitled "Rake’s Progress ), The other is The Magic Flute. During these six years he also designed two leaflets for dance and opera performances for the Metropolitan Opera in New York. The shows and props from these shows were designed as part of a permanent show in the David Hockney exhibition at SaltaMill in York, England. His works include not only two sets of scenery design in costume design and performance, but also several large stage design models he has made for this exhibition. In addition, his works include the WalkerArtCenter in 1983 and the Haihua Art in London in 1985 Stage paintings on display at the Hayward Gallery. The purpose of this article is to explore the transformation of the style of an artist’s work of art and how the vocabulary of painting art can be transformed into a stylistic design of the show and once again sublimated into an artistic theme. From the initial design inspiration to every detail of the birth of the entire design work, it is recorded in his book and permanently displayed in the salt mill.