The Oscar-winning artist talks to BAZAAR.com about his process for the Met Opera revival of 'Lohengrin.'
The theatrical art form is many things—romantic and tragic, to start, but also impossibly literal. A lady of high social ranking is accused of a crime she didn't commit, only to be saved at the last minute by a handsome stranger; they fall deeply in love and marry, but in the end, he leaves, and overcome by heartbreak, she falls dead., a German romance first performed in 1850 and now back with a revival at the Metropolitan Opera.
His work, diverse as it is, does have a common thread in that it always keeps moving, evolving, seeking answers in the new and unknown—in Yip's words, often "without any meaning." The creator's gravitational pull toward abstraction comes through in his series of "spiritual DNA" sketches, in his ongoing performance piece "In the opera revival, directed by François Girard, Yip communicates through color, movement, and form.
"When thinking of the costumes, I came to the conclusion that the direct feeling of nowadays is fear. Everyone is so afraid about the future, about uncertainty," Yip says. "And so I imagined this as the future world, where people cannot stay in the same environment because everything is already destroyed, and they can only live in a bunker. It's the end but also the beginning.
"You have to find a really beautiful way to perform an opera," Yip says. "It is all storytelling and making really beautiful music, but I thought, how can I give you some philosophy, some abstract power that really belongs to multiple disciplines?"
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