Hoje comemora-se o Dia Mundial da Marioneta e neste dia tão especial vou dar uma pequena oficina de Marionetas de Sombra no Museu do Oriente. É importante formar novos públicos para esta arte e também futuros marionetistas. É fundamental lutar pela cultura, pela arte e pela educação artística, neste momento tão particular em que vivemos. A cultura é a identidade de um país. Não deixemos morrer o teatro D. Roberto, apostemos em novas fórmulas mas não esqueçamos a tradição. Para terminar recomendo um livro. Um bom dia a todos e viva a marioneta!!!
http://www.oqo.es/editora/pt-pt/content/zimbro
quinta-feira, 21 de março de 2013
quarta-feira, 20 de março de 2013
21 de Março| Dia Mundial da Marioneta
A propósito do dia 21 de Março: Dia Mundial da Marioneta.
Aqui fica a mensagem deste ano de Roberto De Simóne.
"My first encounter with Pulcinella goes back into the mists of my memory; to the early days of my childhood, when
Pulcinella was part of the imagery of all Neapolitan children. You could meet him in the street in the wondrous baskets
of the toy-peddlers or on the stalls in the Fairs of Saint Joseph, of the Epiphany, of the Piedigrotta Festival, where small
traditional toys were exhibited. Among those a small Pulcinella stood out, who, placed on a miniature trolley and
pushed by a stick, would mechanically clap his hands fitted with minuscule brass cymbals. Another plaything was also
extremely popular: a small red cone made of cardboard in which you could insert a
toy trumpet equipped with a pivetta to play the tune of a traditional tarantella.
A small wire puller was also part of the game: when it was inserted in the cone and
gently pushed by the child it made a tiny Pulcinella manikin go up and down,
whose white vest was glued to the circular brim of the cone itself. Obviously the
game, suggestive of a mischievous sexual movement, lent to our character a phallic
meaning, which was reaffirmed also in other traditional performances.
Lastly, Pulcinella could be found in rigmaroles, nursery rhymes and fairy tales: in
short, he belonged to the dreamlike fabric of tradition, so that little by little you
would access his initiatory purpose, and then his deeper mysterious and
emblematic significance.
To all this the itinerant Guarattelle puppet theater also contributed, in which the
fanciful puppets of Pulcinella, Teresina (his sweetheart), the Dog, Death, the
Hangman and others would perform in the Piazza del Gesù, San Domenico
Maggiore, and Porta Capuana, mesmerizing our childish faces, as we stood there,
open mouthed, to receive the Creed of our oneiric Bible.
VOICE OF PULCINELLA
Puè puè puè puè puè
puere puè puè.
Look out Teresa,
look out from your balcony
for I want you to hear a beautiful song
Finally, I would like to recall that even in the traditional repertory of the Guarattelle you can find characters and
scenes which appear to be connected to the Jewish tradition, the Spanish tradition, the tradition of the Latin and even
the Greek theatre. The term guarattella is the vernacular rendition of bagattella, (a trifling matter) and comes from
the word Bagatto, which is one of the major trumps of the tarot cards, of cabalistic origin and a vehicle of tales and
features that we often find in the repertories and outlines of the Guarattella theater.
I will like to conclude with a touching declaration that I recorded from the voice of the last Neapolitan guarrattellaro
of the old tradition, a certain Nunzio Zampella, prematurely passed away, who had in his DNA all the chromosomes of
an ancient Pulcinella-style art. Asked how important the use of the pivetta was to a puppeteer, he gave me this answer.
ZAMPELLA: «It is essential. The art of the puppeteer is not easy; the handling can be simple, but the mimicry is
musical, the movement is music. The most difficult thing is the double voice that is to alter the natural voice with the
artificial one by the use of the pivetta (a sort of whistle). The puppeteer must be able to do all the voices: the Woman,
the Carabineer, the Monk, Pulcinella, the Dog and even the voice of Death. But whatever tomfoolery you say in the
show it must become rhythm: words are music, movement is rhythm; in this only lies the true strength of the
guarattelle». (21 giugno 1975)
*The puppet Pulcinella created in 1620's inspired ten other characters of the European popular theatre that, everyone,
knew to entertain their audience and to give him a space of liberty.
I wish all you, on the 5 continents, a fabulous World Puppetry Day"
Aqui fica a mensagem deste ano de Roberto De Simóne.
"My first encounter with Pulcinella goes back into the mists of my memory; to the early days of my childhood, when
Pulcinella was part of the imagery of all Neapolitan children. You could meet him in the street in the wondrous baskets
of the toy-peddlers or on the stalls in the Fairs of Saint Joseph, of the Epiphany, of the Piedigrotta Festival, where small
traditional toys were exhibited. Among those a small Pulcinella stood out, who, placed on a miniature trolley and
pushed by a stick, would mechanically clap his hands fitted with minuscule brass cymbals. Another plaything was also
extremely popular: a small red cone made of cardboard in which you could insert a
toy trumpet equipped with a pivetta to play the tune of a traditional tarantella.
A small wire puller was also part of the game: when it was inserted in the cone and
gently pushed by the child it made a tiny Pulcinella manikin go up and down,
whose white vest was glued to the circular brim of the cone itself. Obviously the
game, suggestive of a mischievous sexual movement, lent to our character a phallic
meaning, which was reaffirmed also in other traditional performances.
Lastly, Pulcinella could be found in rigmaroles, nursery rhymes and fairy tales: in
short, he belonged to the dreamlike fabric of tradition, so that little by little you
would access his initiatory purpose, and then his deeper mysterious and
emblematic significance.
To all this the itinerant Guarattelle puppet theater also contributed, in which the
fanciful puppets of Pulcinella, Teresina (his sweetheart), the Dog, Death, the
Hangman and others would perform in the Piazza del Gesù, San Domenico
Maggiore, and Porta Capuana, mesmerizing our childish faces, as we stood there,
open mouthed, to receive the Creed of our oneiric Bible.
VOICE OF PULCINELLA
Puè puè puè puè puè
puere puè puè.
Look out Teresa,
look out from your balcony
for I want you to hear a beautiful song
Finally, I would like to recall that even in the traditional repertory of the Guarattelle you can find characters and
scenes which appear to be connected to the Jewish tradition, the Spanish tradition, the tradition of the Latin and even
the Greek theatre. The term guarattella is the vernacular rendition of bagattella, (a trifling matter) and comes from
the word Bagatto, which is one of the major trumps of the tarot cards, of cabalistic origin and a vehicle of tales and
features that we often find in the repertories and outlines of the Guarattella theater.
I will like to conclude with a touching declaration that I recorded from the voice of the last Neapolitan guarrattellaro
of the old tradition, a certain Nunzio Zampella, prematurely passed away, who had in his DNA all the chromosomes of
an ancient Pulcinella-style art. Asked how important the use of the pivetta was to a puppeteer, he gave me this answer.
ZAMPELLA: «It is essential. The art of the puppeteer is not easy; the handling can be simple, but the mimicry is
musical, the movement is music. The most difficult thing is the double voice that is to alter the natural voice with the
artificial one by the use of the pivetta (a sort of whistle). The puppeteer must be able to do all the voices: the Woman,
the Carabineer, the Monk, Pulcinella, the Dog and even the voice of Death. But whatever tomfoolery you say in the
show it must become rhythm: words are music, movement is rhythm; in this only lies the true strength of the
guarattelle». (21 giugno 1975)
*The puppet Pulcinella created in 1620's inspired ten other characters of the European popular theatre that, everyone,
knew to entertain their audience and to give him a space of liberty.
I wish all you, on the 5 continents, a fabulous World Puppetry Day"
"SOMBRAS" Teatro de Sombras de cariz artístico-pedagógico.
Sinopse
"Sombras" é um projecto artístico de teatro de marionetas de sombra criado, construído, imaginado e manipulado pelo projecto matriz E5G do Fundão, sob a orientação da Magda Moreira, actriz marionetista.
O projecto Sombra tem um carácter de mobilidade, em que se pretende apresentar o espectáculo final nas salas de teatro do concelho do do Fundão.
Este espectáculo retrata a vida dos habitantes de uma aldeia, situada no sopé da serra das Três-Miras.
Um dia, numa manhã cinzenta e carregada de nuvens algo de estranho acontece.
Espetáculo de teatro de sombras que relata do ponto de vista imagético, as relações de um povo com a serra que o circunda.
Ficha Técnica
Criação: Histérico Associação de Artes, Câmara Municipal do Fundão, Projecto Matriz E5G e Magda Moreira
Coordenação do Projecto e Encenação: Magda Moreira
Marionetas e Conjunto Cénico: Ana Amélia, Ana Catarina Morgadinho, Francisco Roxo, Laura Morgadinho, Liliana Alves, Luis Pinto, Marisa Moita, Marta Gonçalves, Rita Monteiro e Rita Salvado
Sonoplastia: Luca Fernandes
Cartaz: Francisca Aranda
Produção: Câmara Municipal do Fundão e Histérico Associação de Artes
Agradecimentos: Dra. Susana, João Mateus Duarte e Vasco Duarte
Público - Alvo: Maiores de 3 anos
Data
Estreia 7 de Abril 2013
Local
Casino Fundanense - Fundão
Horário
15h e 17h:30m
Mais informação
Entrada: 1€ por pessoa
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