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a cura di Franco Lupi VIIITEORIA - PRATICA - PROVE - SPETTACOLO

FORWORD (top)

Puppet companies seem to be doomed to a peculiar and typical destiny: few of them survived in Europe, getting through wars, deportations, financial crises and -last but not least- television. These troupes -usually run by the same families who founded them between the 18th and the 19th century- are complex and wonderful “show-machines”, containing the appeal that can be brought to a show only by time, by the inner magic of carved-wooden actors and the supreme art of people who have been moving strings for two centuries. That’s exactly what we are: the heirs of a two-century tradition of puppet theatre; from generation to generation the technical and artistic heritage never stopped growing by means of new solutions, shows and findings until nowadays. A real treasure of puppetry ability and on-stage experience (namely “ponte” -bridge-, as the stage is called in slang). A two-fold heritage, human and artistic, where tradition faces time and today’s taste, still uniting wonder and feeling with the modern sense of magical derived from fantastic stories. This is achieved using puppets, sceneries and objects moved by the hands of people literally “born in the midst of strings”.

 

AIMS (top)

The aim of this workshop is to bring some of this feeling to the students, trying to convey the artistic heat we’re about to lose as a consequence of the cold way of using computers, videogames and television. For this reason, the aim of the course is to give value to manual and artistic abilities, connecting -in the final performance- the manual activity of puppet-construction with the artistic expression of puppet-acting.

 

END OF COURSE PERFORMANCE (top)

The final performance won’t be the goal, but rather an instrument of this theatrical journey; this journey starts from a text and, through the construction of materials, helps the student with acting and getting involved in the whole complex clockwork of puppet theatre. Peculiar to this kind of art is the chance to express many different theatrical fantasies by the means of puppets: puppets can fly, lose their heads, fall, crash and then be fit again; they can double a character, make animals speak, fight, get wounded and kill without dying. The painted-backdrop sceneries -always changed without closing curtain- can create, with astonishing rapidity, many different landscapes, ranging from natural to fantastic. The marionette theatre can, more than other theatres, express the flights of imagination, making fantasy a concrete element of the show.

 

 SUBJECTS (top)

 1]       PUPPETRY THEORY

·          Importance of puppetry

·          Preserving the art of puppetry

·          Old works

·          Today's works

·          Evolution

·          Origin of the term "marionette"

·          Difference between marionette and puppet

·          Kinds of marionettes (visual explanation)

·          Stooges

·          Muppets

·          Sicilian puppets

·             Kinds of puppets (visual explanation)

·          Hand puppets

·          Glove puppets

·          Puppets moved by rod

·          Historical outline

  

2]      HOW TO BUILD UP A PERFORMANCE (theory)

·          Adaptation of a text or a work

·          Direction

·          Scenery perspective

·          Lights

·          Stage techniques

·          Marionette acting

·          Dubbing

·          Roles in a play

·          Staging and performing costs

  

3]      HOW TO BUILD UP A PERFORMANCE (practice)

·          Creation of marionettes

·          Sceneries painting

·          Costumes

·          Scene-objects construction

·          Acting rehearsals

·          Puppet-moving rehearsals

·          Scene-changing rehearsals

·          Marionette-acting and moving rehearsals

·          Scene by scene rehearsals

·          Rehearsals without interruptions

·          Final rehearsal

·          Performance

 

TO WHOM IT IS ADDRESSED  (top)

Addressed originally to an adult audience, aged between 20 and 35, it can be suited to other age-ranges.

 

DURATION OF THE WORKSHOP WITH PERFORMANCE (top)

The total length of the course, including the first show, is of  124 hours, approximately arranged as follows (The timetable is only indicative and may vary to follow the needs of students).

  

PROGRAMME  (top)

 

DAY

TIME

ACTIVITY

 

 

 

 

1° week

Monday

10-13

Presentation

 

 

15-18

Theory

 

Tuesday

10-13

Sculpture

 

 

15-18

Sculpture

 

Wednesday

10-13

Sculpture

 

 

15-18

Sculpture

 

Thursday

10-13

Sculpture

 

 

15-18

Sculpture

 

Friday

10-13

Sculpture

 

 

15-18

Sculpture

 

Saturday

 

 

 

 

 

 

 

Sunday

 

 

 

 

 

 

 

DAY

TIME

ACTIVITY

 

 

 

 

2° week

Monday

10-13

Theory

 

 

15-18

Body construction

 

Tuesday

10-13

Body construction

 

 

15-18

Body construction

 

Wednesday

10-13

Moving rehearsal

 

 

15-18

Moving rehearsal

 

Thursday

10-13

Marionette assembling

 

 

15-18

Moving rehearsal

 

Friday

10-13

Marionette assembling

 

 

15-18

Moving rehearsal

 

Saturday

 

 

 

 

 

 

 

Sunday

 

 

 

 

 

 

 

DAY

TIME

ACTIVITY

 

 

 

 

3° week

Monday

10-13

Moving rehearsal

 

 

15-18

Acting rehearsal

 

Tuesday

10-13

Moving rehearsal

 

 

15-18

Acting rehearsal

 

Wednesday

10-13

Moving rehearsal

 

 

15-18

Acting rehearsal

 

Thursday

10-13

Moving rehearsal

 

 

15-18

Acting rehearsal

 

Friday

10-13

Moving rehearsal

 

 

15-18

Acting rehearsal

 

Saturday

 

 

 

 

 

 

 

Sunday

 

 

 

 

 

 

 

DAY

TIME

ACTIVITY

 

 

 

 

4° week

Monday

10-13

Rehearsal

 

 

15-18

Rehearsal

 

Tuesday

10-13

Rehearsal

 

 

15-18

Rehearsal

 

Wednesday

10-13

Rehearsal

 

 

15-18

Rehearsal

 

Thursday

10-13

Rehearsal

 

 

15-18

Rehearsal

 

Friday

10-13

Final rehearsal

 

 

20-23

Final rehearsal

 

Saturday

10-12

Performance

 

 

 

 

 

Sunday

10-12

Performance

 

 

 

 

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