(Set and costume designer)
THE ART OF DRAWING THE COSTUME VOL. 3
In the early 1990s, Grupo Uno, the Lima-based dance company hired Pepe Corzo for his first stage project: Crónicas Imakinarias (1992), to design the costumes for a new production, the first of almost a hundred or so shows in his portfolio. He then worked with a number of leading Peruvian theatre directors who recognized that his special talent would contribute greatly to that which they had in mind: Ruth Escudero, Edgar Saba and Jorge Guerra. “With Jorge it’s a fascinating experience, a challenge, he’s a director that surprises you and encourages you to surprise him in turn,” and Rocio Tovar, with whom there exists a close friendship, “Rocio understands me better than I can myself. From that early period in Lima a number of theatre productions stand out: Cyrano de Bergerac (Ruth Escudero), La vida es sueño, King Lear, Las tres hermanas, Waiting for Godot and El otro lugar (Edgar Saba), Fausto, Don Juan vuelve de la guerra and La casa de Bernarda Alba (Jorge Guerra), Pataclaun (July Naters), Antígona (Miguel Rubio), Perú JaJa, Muérete cupido, A Midsummer Night’s Dream and Chaska y Puro Cuento (Rocío Tovar). Titles to which should be added collaborations with choreographers and dance companies such as the above-mentioned Grupo Uno, Integro, Karin Elmore, Danza Viva and Morella Petrozzi. Corzo’s fascination with dance, for the movement of the bodies that give life to the costumes, was to have new outlets in which to develop.” (by JUAN CARLOS ADRIANZEN. The Scenographer 2018).
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