Fiecare prințesă are nevoie de-un prinț. Dar ce te faci când el este doar un…broscoi? Povestea păstrează linia Fraților Grimm, căreia îi sunt inserate elemente din extremul orient, invocând universalitatea problemelor ridicate de basm.
The story keeps the pattern of Grimm Brothers, but the action releases a Zen atmosphere. The show has references to the Far East, containing musical insertions and personalized songs for each main character. The setting is very unique and very big in the landscape of Romanian animation theatre. The play is staged with long string puppets, human sized mannequins and masks
In the story a donkey, a dog, a cat, and a rooster, all past their prime years in life and usefulness on their respective farms, were soon to be discarded or mistreated by their masters. One by one they leave their homes and set out together. They decide to go to Bremen, known for its freedom, to live without owners and become musicians there. („Something better than death we can find anywhere.”. On the way to Bremen, they see a lighted cottage; they look inside and see four robbers enjoying their ill-gotten gains. Standing on each other’s backs, they decide to perform for the men in hope of gaining food. Their ‘music’ has an unanticipated effect; the men run for their lives, not knowing what the strange sound is. The animals take possession of the house, eat a good meal, and settle in for the evening. Later that night, the robbers return and send one of their members in to investigate. He sees the Cat’s eyes shining in the darkness and the robber thinks he is seeing the coals of the fire. He reaches over to light his candle. Things happen in quick succession; the Cat scratches his face with her claws, the Dog bites him on the leg, the Donkey kicks him with his hooves, and the Rooster crows and chases him out the door, screaming. He tells his companions that he was beset by a horrible witch who scratched him with her long fingernails (the Cat), an ogre with a knife (the Dog), a giant who had hit him with his club (the Donkey), and worst of all, the judge who screamed in his voice from the rooftop (the Rooster). The robbers abandon the cottage to the strange creatures who have taken it, where the animals live happily for the rest of their days.
Pinocchio este simbolul animației de păpuși, arhetipul însuflețirii inertului. Pinocchio este prototipul copilului din orice timpuri, aplecat spre joc, cu o atenție limitată și cu dorința de rezultate imediate. Pinocchio întruchipează visul și coșmarul oricărui părinte. În această versiune, animaţia digitală ocupă un loc important, împletindu-se cu jocul la vedere al actorilor, cu păpuşile mari, cu măştile şi costumele extrem de sugestive. Fiecare personaj important are un fragment muzical descriptiv.
Teatrul Ţăndărică revine cu cea de-a doua parte a Festivalului de vara „Teatru, stradă şi copil”, care se va desfăşura în perioada 30 august – 14 septembrie 2014, în Parcul Herăstrău (intrarea Charles de Gaulle).
Campania Națională Artiștii pentru Artiști 2016 Citește mai mult
Textul şi regia: Mihai Gruia SanduScenografia, costumele şi păpuşile: Daniela Drăgulescu, Matei Dumitrescu, Elena Nucă, Mihai Ungureanu, Silviu SpirescuMuzica: Mihai BisericanuFoto: Andrei RoșianuVârsta: Peste 3 aniDurata: 50 min Distribuţia: Florin Mititelu /
A return to tradition. The show represents the return to one of the traditions of the puppet theater, the long-haired, puppet with a walkway. Staging is based on the classical story, but all the adventures of the three piglets are ironically approached.
După Voltaire Scenariu, regia artistică, păpuşi şi animaţie digitală: Cristian PepinoCostumele: Cristina PepinoMuzica: Dan BălanVârsta: AdulțiDurata: 60 min, nonverbal Distribuție: Mihai Dumitrescu, Liliana Gavrilescu, Georgiana Dinescu, Petronela Purima/Roxana Vișan, Marin Fagu Un
Adunarea Păsărilor reprezintă demonstrația că nonverbalitatea și mișcarea pot exprima mai mult de o mie de cuvinte. Spectacolul are la bază celebrul poem omonim al lui Farid ud-Din Attar, cu influențe din cunoscutele dramatizări ale lui Peter Brook și Jean-Claude Carriere și ne poartă prin elementele care condimentează umanitatea de-a lungul secolelor: drumul inițierii, lupta pentru putere, dinamica socială.
Compared to the original poem (or the dramatization of Peter Brook and Jean-Claude Carriere in 1979), the author of this had taken into account primarily the value and the human universal dimension of thinking of the Persian poet Farid Uddin Attar, of the Oriental philosophy, of the advanced character of knowledge, in general, and of self-knowledge in particular. The long and difficult road of „initiation” from Assembly of the birds, of the big journey, is deviated from Attar, from the other Oriental and writers, from the “sky”, becoming the demonstration of truth on Earth, of truth inside man, guilty and responsible for his destiny. This fundamental aspect of Attar’s literature, this detachment from religion, this wide humanistic opening of his thinking, determined us to choose the transportation that his uncle made him opt for the transposition of the text, considering it a cultural, poetical, philosophical act. On the other hand, he kept the original oriental beauty of thinking, but he is making steps afar from the fanaticism of monotheistic beliefs, especially of the Islam, in favor of rationalism and a true sense for the real life. The „initiation” becomes a fact of knowledge, a path of conscience to itself, the sole purpose of any genuine social frames
