Like the celebrated film "Orfeu Negro", Orpheus in Rio retells the tragic tale of Orpheus' love for Eurydice against the vibrant backdrop of Rio Carnival c. 1959.

Costume design by Sasha Koura

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Background

The Greek myth of Orpheus tells of a beautiful youth, who is able to charm everyone with his lyre, however despite his skills not even he can escape fate as he loses his beloved Eurydice not once but twice. Translated by Marcel Camus in the film 'Orfeu Negro' to 1950s Rio, the story is distilled into a modern-day fairy tale, Orpheus strums his guitar and the familiar themes of love, hope, life and death are the largest characters.

The opening backdrop to the film is a hill overlooking the Bay of Rio. Women carry large burdens on their heads as if they were merely feathers, men make music with anything that comes to hand, life in the favelas is bearable, for tomorrow is carnival. Following this scene we witness Eurydice arriving in Rio, stepping off a ferry laden with people singing and dancing in an affirmation of music and life. This excitement is maintained as she is greeted by a barrage of hawkers, startling her with everything from open-mouthed fish to coloured paper windmills. She has emphatically not come to Rio to take part in the carnival, rather to escape something more sinister. However the hustle and bustle, movement and sound of carnival, which are used throughout the film to purvey a frisson and uneasy edge, are soon to engulf her and in this short time she lives her whole life.

The film is culled from Vinicius de Moraes' play, 'Orfeu da Conceicao', which translates the canonical Greek myth into the so-called 'culturally impoverished' realm of poor black Rio. However Camus' version was criticised for representing the favelas as communities where the poor are happy as long as they can sing, dance and carnival from dawn 'til dawn. A deliciously ironic criticism, as it is that very ephemeral quality of carnival that gives the film this sense of poignancy, for it is only during carnival that reality can be suspended, as with the hope of carnivals to come and the memory of carnivals past. Nowhere is this sense more beautifully portrayed than in the film's soundtrack, including the two famous Bossa Nova songs written by Moraes and Tom Jobim, 'Manha da Carnaval' (the morning of carnival) and 'Felicidade' (happiness), quoted at the top of the page.

Whilst the film is indebted to the Greek myth for its storyline there is much in its essence that is independent and that the tale should be analogous is not intrinsic to Greek tragedy. Despite this there are many parallels and nods to the original story, and many of the characters translate directly.

This is the plot of the original Greek tragedy: Orpheus, a musician capable of moving even inanimate objects with his song, marries Eurydice. Eurydice is killed by a serpent on their wedding night and is carried away to Hades, the Underworld. Orpheus travels to Hades to find her and when he gets there his music so charms Pluto, Lord of Hades, that he releases Eurydice from death. However she can only return to the world of the living if Orpheus undertakes not to turn back and look at her on the journey. Orpheus agrees but his resolve is weak and close to their journey's end he turns and Eurydice is lost to him forever.

Enredo

'Orpheus in Rio' will be far more indebted to the film 'Orfeu Negro' than to the original Greek myth and it will be the character and aesthetic of the film that drive this theme. However this includes acknowledgement of ancient Greece as the origin of the story, as is also demonstrated in the film. 'Orpheus in Rio' above all will be a celebration of carnival and music, carnival as the embodiment of everyone's hope and aspiration and music as the driving force of life.

The Alas

	Comissão de Frente White cloaked figures hold the story together like an Ancient Greek Chorus. In a dramatic ballet, their cloaks will open to reveal vibrant and colourful patterns and scenes of Rio, through which wander the child Orpheus and Eurydice.
	Porta Bandeira
	Mestre Sala
	Ala Batería A Greek temple in the tropics
	Ala Carnaval Colourful and playful costumes devised in the manner of carnival decorations and ephemera
	Ala Macumba Orpheus' journey to the underworld is depicted in the ritual of Macumba or Candomble. This costume combines the colours of the London School of Samba with straw, mirrors, shells and ritualistic symbols
	Ala Passista (Female) In 1959 passistas didn't always wear bikinis. Tropical and bright as parakeets, this costume is designed to emphasise the movement and grace of the passistas
	Ala Passista (Male)
	Ala Baiana The familiar Rio landmark of the arcs of Lapa provide the basis for the costume while the tram runs as a motif across the accompanying fan
	Destaques The parade will also feature a number of individual characters from the story, parading between the different Alas. Destaques wear sumptuous costumes, which are not revealed to the public until the carnival parade. Orpheus and Eurydice: the two main characters Death: a figure that stalks the whole parade.