Theatre of Music, Words and Objects for Children from 4 to 10 Years Old

E411 vzw & TRAFFIK THEATRE

present

REDRIDINGHOOD

Theatre of music, words and objects for children from 4 to 10 years old.

The fairy tale of Little Red Ridinghood is a fascinating story. It is without a doubt one of the most popular initiation stories in the world. It tells the story of a little girl who leaves her parents home alone for the first time to go out into the world. But is she big enough to meet the Big Bad Wolf? Will she fall into his traps?

Based on the Brothers Grimm and Perrault versions, the story is presented in its most condensed and trimmed down form and is directed and told in an almost minimalist fashion. Words, music and a few carefully chosen objects weave a suggestive world that operates on an emotional level allowing the children to be permeated by the universal themes recounted by this tale: responsibility, seduction, guilt/innocence and the difficult path from childhood to adulthood. Although we do not avoid the cruelty of the tale our version, opts for redemption and hope.

In this intimate production of red ridinghood, where music, text and theatre of objects are skillfully blended together, a wolfish musician and a musical storyteller offer us moments of great tension and intense beauty.

The performance takes its inspiration from traditional asian narrational techniques.

Author: the Brothers Grimm, collective creation

Dramaturgy, scenery and objects: Daniel Tanson

Music: (composition and interpretation): Michel Boulanger

Exterior eye/direction: Astrid Howard

Told by: Daniel Tanson and Michel Boulanger

Length: 35 minutes

Notes:

The show is primary oriented towards children of 4 to 10 years old. However, as it can be read on many different levels, it is also enjoyed by adults. It is thus a piece for all ages.

Languages: red ridinghood speaks French, Flemish, Luxembourgois and German.

Since 2001, red ridinghood has been very well received in Luxembourg and Belgium, and has been programmed by the Embassy of Luxembourg in Brussels. It has also been presented at the Festival Mondial des Théâtres de Marionettes (“The World Festival of Puppet Theatres”) in Charleville-Méziaires, France, in the prestigious Festival van Vlaanderen/Klara Festival (“Festival of Flanders/Klara Festival”), Brussels, Belgium, in the TheaterFest der Deutschsprachigen Gemeinschaft Belgiens (“Theatre Festival of the German-speaking Community of Belgium”), Sankt Vith, Belgium and recently in the Internationales Figurentheaterfestival, (“International Theatre of Objects Festival”) Magdeburg, Germany, Festival Momix 2006, Mulhouse (F); FIDENA 2011, Bochum (D); IMAGINALE 2012, Mannheim + Stuttgart (D); Cellofestival Dordrecht (NL); Starke Stücke, Frankfurt (D); Bottroper Märchentage, Bottrop (D); Szene Bunte Wähne, Horn (AT); Tournée Côté Cour, Doubs et Jura (F); Segni d'Infancia, Mantova (I); Kunstenhuis Pantalone, Bruxelles (B); Pierre de Lune, Bruxelles (B); Festival Turbulences, Namur (B); Montagne Magique, Bruxelles (B); Théâtre de Poche, Schweighouse-sur-Moder (F), Figuren@rt-Internationale FigurenTheaterNächte Reutlingen, Reutlingen (D); Pole-Poppenspäler Husum (D), KinderKinder Festival 2011, Hamburg (D).

A few words on the objects and the narrative form

- Simplicity and sobriety

In these times of technological, multimedia, “ready to consume” entertainment, the artists have resolutely chosen restraint using only a few evocative objects (Russian dolls (matriouchkas recalling central Europe), a green hunter’s hat, the trees of the forest...) on a simple wooden percussive playing space.

- Tradition and transformation

Traditional Japanese narrational techniques of the Nô theatre and Biwa concerts have been a source of inspiration. They have been adapted and the storyteller/manipulator voyages between narrator and the characters with subtlety and grace.

A few words on the music

LEITMOTIF OF RED RIDINGHOOD

- Simplicity and clarity

Only one melodic acoustic instrument: the cello. Other sources of sound (bells, wooden objects...) used in a parsimonious and occasional manner. A leitmotif in the form of a simple melodic curve, a few plucked open strings. The whole of the piece, from the scenery to the narrative style is underlain by a concern for sobriety.

- Heritage and tradition

As with the traditional “costumes” of the matriouchkas, the music recalls a lost past, an ancestral tradition.

The medieval modaliy of the leitmotif, the harmonic language based on fourths and fifths, a reference to Bartok, and measures in five beats, evoke the Middle Ages as well as certain forms of traditional music in eastern Europe.

- Contemporary and timeless

Innocence cannot last forever, this initiatory aspect of the story is universal. Contemporary musical techniques transform the leitmotiv of red ridinghood in unexpected ways. Medieval song, contemporary leitmotiv and sonority blend in a place of strange intemporality and simultaneousness. John Cage is not far.

- Eternal renewal

Melodious song, plucked strings, percussive sounds, sound effects, contemporary techniques and sonority, the cellist uses all the facets of his instrument. Thus the piece allows the discovery of the cello in a humorous and surprising manner.

- A concert to be seen, a theatre piece to be heard

The cellist, present on stage, is a spectator of what happens, and comments on it while participating actively. The occasional manipulation of objects, the slow rhythm and the popularity of the story allow the spectators to divide their attention between the visual, narrative and sound elements of the story. More than a fairy tale with music and objects, this piece is a theatre concert, a musical reading of one of the most beautiful fairy tales.

With the support of the Vlaamse Gemeenschapscommissie van het Brussels Hoofstedelijk Gewest.

The artists

MICHEL BOULANGER (cellist, Belgian)

Studied at the Brussels Conservatory, Belgium (Diplôme supérieur in Cello, Diplôme supérieur in Chamber Music and Première prix (First Prize) in Baroque Cello), at the Musikhochschule in Cologne, Germany and with Jonas Starker at Indiana University, Bloomington, Indiana, USA. Since 1986, Michel Boulanger has played all over the world with ensembles such as La petite bande, Il Fondamento, L’Orchestre des Champs Elysées, Anima Eterna, Les Agrémens, Il Gardellino, etc. In chamber music, he gives concerts in Europe, Brazil, the United States, Japan and has recorded numerous CDs. In addition to baroque music, he is also interested in experimental music. He was a member of the ensemble Champs d’action. For a number of years now he has participated regularly in dance, theatre and improvisational productions. He has collaborated with the dancer/choreographers Hervé Robbe (Fr), Louis Zeigler (Fr), Fernando Martin (Be), Matteo Moles (Be), and Claudio Bernardo (Be/Brazil). In 2002, he participated in “Don’t Shut Me!” a piece by Sarah Goldfarb which fuses music, text and movement. In 2004, he acted in “Beste Vrienden” a theatre piece for children created by the company Luxembourg. He teaches cello at the Academies of Sint Agathe-Berchem and Zaventem, Belgium where he is also experimenting with a course in collective improvisation.

DAN TANSON (director/producer/puppeteer & storyteller, Luxembourger)

Dan Tanson studied visual communication with main focus on children book illustration and trained acting, contemporary puppet theatre, Movement Theatre and improvisation in Belgium, France, Germany and Luxemburg. Since 2002 he works as freelance artist, performs, produces puppet plays and directs internationally. His main interest is the connection of puppet playing, storytelling and live-music. 2003 he founded the company TRAFFIK THEATER Luxemburg, which produces music theatre for young audience (since 2006 he produces regularly with the Philharmonie Luxemburg).

Recent productions in collaboration with the Philharmonic Orchestra Luxemburgare: “Carnival of the animals”,“Ouroboros” (2009) and “Peter and the Wolf”.

Other recent productions are “Drumblebee”(2012), “Les Enfants Idiots” (2011); “Mausemärchen und Riesengeschichte” and “Te Ros”(2010); “The Emperor New Clothes”(2009); “ Wanja” and “Babar” (2008). His piece “Red Ridinghood” was performed more than 250 times all over Europe.

Awards:

2011 directing “Rocky Roccooco”, Yeah! Award

2009 producing and performing “Wanja. ein Wintermärchen”, Junge-Ohren-Preis

2008 directing “Héron Ascendant Rivière”, public and press award at Rencontres de Théatre Jeune Public.

Nominations:

Dan Tanson got in the finals of YEAH! Young EARopean Award 2011 with “Rocky Roccoco”, “Te Ros!” and “Mausemärchen und Riesengeschichte” as director, producer and graphic designer.

In 2012 he was nominated at the Young Audience Music Award YAMA, with “ROCKY ROCCOCO” and “DRUMBLEBEE” as best music theatre show for children. YAMA is organised by Jeunesse Musicale International.

ASTRID HOWARD (exterior eye/director, American)

Studied directing at the Institut National Supérieur des Arts du Spectacle (INSAS), Brussels, Belgum. She has directed and written two original pieces “Les voies de Tagore” and “Frivolités, les petits gâteaux qu’on peut manger jusqu’à en vomir”, as well as directing the original piece “Of Cakes, Men and Angels” by Mary Benefiel, presented at the Edinburgh Festival Fringe. She has a long-time creative association with the Belgian avant garde director Martine Wijckaert as assistant director (“Table des Matières”, “Nature Morte”, “Les Chutes du Niagara” amongst others). She has also collaborated regularly as assistant director with the directors Françoise Bloch (“Tout ça du vent”, “La Demande d’emploi”) and Sarah Goldfarb (“A4 - Quatuor”). She has a strong interest in music which has led her to study Indian raga singing and to collaborate in an experimental improvisational group combining music, words and movement. She holds a Masters in Geology from the California Institut of Technology, USA.

Technical information

Hall:

- The intimate nature of the piece requires a silent, enclosed performing space which can be made completely dark.

- Raked public seating, either in bleachers or by combining cushions in front, then low gym benches, then chairs.

Performance space:

- Minimum playing space: 4m wide x 4m deep.

- Ideally the playing space should be on the same level as the floor of the hall, i.e. not on a podium.

- The floor must be black as well as the backdrop and the sides of the playing space. (If necessary the company can provide black cloth to create this

“black box”.)

Lights:

- 4 PCs 500W or 650W

- 2 profiles 650W + shutters

- 3 PARs

- 1 tripod on which to mount one of the profiles (+/- 1m50 high)

- Cables + splitter (to put two projectors on the same ciruit)

- Rack

- Manual light board or light board with a manual function; minimum 6 circuits (12 if possible)

- Ladder (to access the lights, focussing, etc.)

- Gelatines : 2x 202 for the PCs

2x 152 for the PCs

3x RED for the PARs

If you do not have any lighting equipement available the company can bring its own lights however we must be made aware this well in advance of the performance and we must have acces to a 380V, 32amp plug. If this is not possible please contact us.

Further information:

- Maximun 80 spectators

- Set in: 3 hours (can be shorter if a technician and lighting equipement available)

- Length of the show: 35 minutes

- Strike: 40 minutes

- 1 dressing room (with shower if possible)

- The company would be delighted to receive water as well as some fruit and something to eat at midday, if appropriate.

Technical Contact:

in Belgium: Astrid Howard Tel: +32 2 649 19 07

Mobile: 32 498 75 31 10

e-mail:

in Luxembourg: Daniel Tanson Tel: +35 2 26 29 64 87

Mobile: +35 2 095 43 55 50

e-mail:

General Contact

in Luxembourg:

Traffik Theatre - Daniel Tanson

37 rue Ernest Beres

L-1232 Howald

LUXEMBOURG

Tel/Fax: +35 2 26 29 64 87

Mobile: +35 2 095 43 55 50

e-mail:

in Belgium:

E411 vzw - Michel Boulanger

2 rue de la Confiance

B-1040 Brussels

BELGIUM

Tel/Fax: +32 2 646 74 03

Mobile: +32 484 692 330

e-mail: