"O Soldadinho"
MUSEU DA MARIONETA
9 May at 4pm (Saturday) | 10 May at 11.30am and 4pm (Sunday)
Based on a tale by Hans Christian Andersen
Text and direction: Igor Gandra Performers: Carla Veloso, Igor Gandra Lighting and sound operation: Hernâni Miranda Photography: Susana Neves Production: Teatro de Ferro Company sponsored by: Governo de Portugal - Secretário de Estado da Cultura – DGArtes Technique: Full-view manipulation For audiences over: +4 Language: Portuguese Running time: Approx. 45 min.
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There were a lot of toys in the room
There were toys of this
There were toys of that
Toys with battery
Toys made of rope
Toys for boy
Toys for girl
And also there was a ballerina that let the little soldier en-chan-ted!
This show consists in the adaptation – into the puppet theatre, objects and animated forms – of the tale by Hans Christian Andersen, thus transforming the toy soldiers and other toys of the past into the empowered heroes of the future. Teatro de Ferro build a re-enactment of the form, without damaging the essence of the tale, of the platonic, impossible love between the soldier and the ballerina, of this kind of Romeo and Juliet in toy-form.
Although fairy tales carry in themselves a huge diversity of unconscious signs, we will not approach the tale under that perspective, but instead under the prism of the theatricality of the situations, the emotions, and the characters.
O Soldadinho (The Little Soldier) was originally created in 1994, at the Teatro de Marionetas do Porto, by Igor Gandra, and moved into the Teatro de Ferro’s repertoire in 2002. Since then, it has already toured throughout the whole country and in a variety of settings.
Resuming the structure of Hans Christian Andersen’s tale, O Soldadinho tells us about a real love between a toy soldier and a toy ballerina. The manipulation of objects, the little stage machines and other gadgets articulate themselves in the scenic apparatus – small telling-stories machine – in which the actors are simultaneously machinists and passengers.
Text and direction: Igor Gandra Performers: Carla Veloso, Igor Gandra Lighting and sound operation: Hernâni Miranda Photography: Susana Neves Production: Teatro de Ferro Company sponsored by: Governo de Portugal - Secretário de Estado da Cultura – DGArtes Technique: Full-view manipulation For audiences over: +4 Language: Portuguese Running time: Approx. 45 min.
There were a lot of toys in the room
There were toys of this
There were toys of that
Toys with battery
Toys made of rope
Toys for boy
Toys for girl
And also there was a ballerina that let the little soldier en-chan-ted!
This show consists in the adaptation – into the puppet theatre, objects and animated forms – of the tale by Hans Christian Andersen, thus transforming the toy soldiers and other toys of the past into the empowered heroes of the future. Teatro de Ferro build a re-enactment of the form, without damaging the essence of the tale, of the platonic, impossible love between the soldier and the ballerina, of this kind of Romeo and Juliet in toy-form.
Although fairy tales carry in themselves a huge diversity of unconscious signs, we will not approach the tale under that perspective, but instead under the prism of the theatricality of the situations, the emotions, and the characters.
O Soldadinho (The Little Soldier) was originally created in 1994, at the Teatro de Marionetas do Porto, by Igor Gandra, and moved into the Teatro de Ferro’s repertoire in 2002. Since then, it has already toured throughout the whole country and in a variety of settings.
Resuming the structure of Hans Christian Andersen’s tale, O Soldadinho tells us about a real love between a toy soldier and a toy ballerina. The manipulation of objects, the little stage machines and other gadgets articulate themselves in the scenic apparatus – small telling-stories machine – in which the actors are simultaneously machinists and passengers.
+FIMFA%C2%A9Susana+Neves.jpg) |
+FIMFA%C2%A9Susana+Neves.jpg) |
BIO
Teatro de Ferro was founded in 1999. Originally created as a label identifying the creative works of Igor Gandra and Carla Veloso, the project gradually envolved towards the state of a professional structure of creation.
The choice of the name - Teatro de Ferro (Iron Theatre) - presupposes a notion of primordial, resistant and at the same time changeable matter: this transformation process continues to inspire them.
The work of the Company has been developed in the theatre of, and with, puppets and objects. They conceive their practice in the logic of a research in which the puppet has assumed a matrix value in its possible hybridations, both tempted and tempting.
The relations - of the body interpreter with the manipulated object and the implication of each spectator in the building of this relation - are lines of reflection that are transversal to the artistic practice of Teatro de Ferro.
The promotion of Portuguese contemporary dramaturgy is a defining trait of their artistic project, the reason why the company has mainly worked with original texts by Portuguese writers.
TdF has been reaching heterogenic publics. Improbable partnerships, the search for alternative contexts outside of the usual circuits of the performing arts, the intense itinerating activity, the creation aimed to the youngsters, and the projects of cultural action, are TdF clearest gestures, and in this way they declare this plural wish of sharing.
The choice of the name - Teatro de Ferro (Iron Theatre) - presupposes a notion of primordial, resistant and at the same time changeable matter: this transformation process continues to inspire them.
The work of the Company has been developed in the theatre of, and with, puppets and objects. They conceive their practice in the logic of a research in which the puppet has assumed a matrix value in its possible hybridations, both tempted and tempting.
The relations - of the body interpreter with the manipulated object and the implication of each spectator in the building of this relation - are lines of reflection that are transversal to the artistic practice of Teatro de Ferro.
The promotion of Portuguese contemporary dramaturgy is a defining trait of their artistic project, the reason why the company has mainly worked with original texts by Portuguese writers.
TdF has been reaching heterogenic publics. Improbable partnerships, the search for alternative contexts outside of the usual circuits of the performing arts, the intense itinerating activity, the creation aimed to the youngsters, and the projects of cultural action, are TdF clearest gestures, and in this way they declare this plural wish of sharing.
