silent film fans, the company La Main dans les Pâtes works, from April 2006 to a theater project inspired by this cinematic universe . Asked about how to play on the stage of taking the techniques of camera, zoom, slow-moving thunderstorms or acceleration, extrapolation from reality to dream. Among mime, pantomime and melodrama is the whole atmosphere of the period, with a touch of modernity to emerge.
ROVEDA Valeria (Italy) he graduated in 2006 at the School of Theatre in Motion Lassaad (Lecoq method) and the school Accademia96
MAISONNEUVE Mathieu (France) worked several years in street theater as an acrobat, juggler. In 2003 he joined the company Bulles de Zinc in the show "La demoiselle des rues." In October 2004 he enrolled at the International School of Theatre in Motion Lassaad Brussels. In 2006 he founded with V. The company Roveda Main dans les Pâtes.
E: "Hello Valeria, because I am working on the design of spaces on the theater, I take this opportunity to ask you a few application. Since you are in for a few years, both as an actress and as a teacher, your contribution would be really valuable!
In light of your experience, how do you think should be arranged by a space dedicated to the theater (both of the room that way), which services should have? "
V: "Hello Helen, please. Make me a question that is a bit 'so difficult to answer on the spot ... when I read your mail made me think about the last tour in Portugal where we have acted in a very beautiful cultural centers, art, which then had the stage lacks essential elements (eg level of equipment, easy access to the dressing rooms. ..). It was evident that the space had not been conceived by people who know the needs of the actors (and sometimes even the public). Now I do not know if in a particular case I think about the building being renovated or built from scratch, but such an auditorium, a small but very nice, had no exit from the sides (the wall of the stage was the real wall of the room ...), but only on the bottom, then exits and entries were limited to the area behind it, access to the dressing rooms was via a metal ladder (so heavy) attached to the stage ... was therefore impossible to use it during the performance.
Well, I never thought about how it should be an ideal theater space but on reflection I can think of times when I found some areas not to understand what are the important elements. "
E: "What about spaces for theater workshops?"
V: "For a theater workshop requirements are minimal. Accustomed to work anywhere, I do not know exactly how to draw the perfect place ... spacious but intimate ... rectangular in shape, I think, that you have the space to run and move in one of the short sides and put a little upward so that they create the scene ... when I give lessons in theater, the stage is used very little since the creation and the preparatory work for the public is not yet part of the work (and the stage is the place "basic", "start" of communication with the public, certainly not the only but certainly the most coded).
Giving a quick look at http://elenacruciani.blogspot.com/2009/03/luoghi-e-tempi-teatrali.html I think that speaks well of space for street theater, which has completely different needs. It also completely different depending on the type of show you want to submit.
The same is true of a theatrical space indoors. There are no rooms suitable for every type of show. We must therefore consider that it has scenic interest. A very large room houses a large public performance "spectacular" as operas, musicals, big scenes, the circus. There are also more intimate performances, which require a smaller audience, a closeness with the audience ... In short, the questions to ask before you design a space are different. "
And: "And the audience?"
V: "Ah. Often the public does not fully understand the show. I would not be able to answer, but a major problem for the construction of the hall is perhaps the visibility. Too low a stage needs of the steps (it says so in Italian ??)... (Stands?). I saw several theaters where the stage was much lower than the result, as at the bottom of a cliff (the effect is interesting but I am not convinced the prospect is most favorable for the actors).
If the stage is too high the first file they see evil (and stiff neck). If you do not There are bleachers, so the audience is all on the same level, as there is a chance to make alternate rows, you end up doing the slalom of sight between the old woman with a hat with flowers, the stangone you place it right in front, impatient with the changing position every three minutes, the talker must report every detail of the ear and then around the room becomes a great movement to coordinate with the person in front and get to see something ... "
And: "Your company has a website?"
V: "No, I do not have a website of my company, usually appeared at sites where present events and for the moment that's okay ... the ... "Technology" is not really my forte. "
And:" Thank you for your cooperation "
http://www.comedien.be/valeriaaroveda
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