TRE OPERE DI SHAKESPEARE. TRE WEEKEND. UN UNICO VIAGGIO. UNA SERIE DI LABORATORI PER ATTORI, REGISTI E DOCENTI CHE VOGLIANO PROSEGUIRE IL LORO SVILUPPO PROFESSIONALE, CERCANDO NUOVI MODI DI PRESENTARE SHAKESPEARE.
RACCONTO DI INVERNO; I SONETTI; AMLETO.
Questo ciclo di laboratori intensivi vuole sperimentare un modo di lavorare su Shakespeare nella recitazione, nella messa in scena ponendo l’accento sui temi che uniscono le opere scelte. Tutti e tre i laboratori includeranno: Esplorazione sul testo e sul ritmo, messa in scena dei testi e analasi dei dialoghi e delle scene. Lo scopo del corso è di cercare la fluidità del linguaggio di Shakespeare per scoprire un modo sincero e semplice di recitare i suoi versi.
PERIODO DEi LABORATORI:
RACCONTO D’iNVERNO 7-9 marzo 2014
i SONETTI 21- 23 marzo 2014
AMLETO 11-13 aprile 2014
ORARI: VENERDì 16-20; SABATO E DOMENICA 10.30_17 PARTECIPANTI: MAX. 20 TIPOLOGIA DI PARTECIPANTI: ATTORI, ALLIEVI ATTORI, REGISTI, DOCENTI DI RECITAZIONE
COSTI: ISCRIZIONE A UNO SOLO DEI LABORATORI: 100 € ISCRIZIONE A DUE LABORATORI: 130 € ISCRIZIONE A TUTTI E TRE I LABORATORI: 180 €
MODALITA’ DI ISCRIZIONE: PER ISCRIVERSI E’ NECESSARIO INVIARE CV E LETTERA DI MOTIVAZIONE SPECIFICANDO IL PACCHETTO E IL LABORATORIO SCELTO A INFO@J33TRE.ORG ENTRO 1 MARZO 2014. il costo del laboratorio non verrà rimborsato in caso di rinuncia da parte del partecipante.
AVVISO: PER I PARTECIPANTI FUORI ROMA, L’ASS.NE NON SI FA CARICO DELL’ORGANIZZAZIONE DEL VIAGGIO E DELL’ALLOGGIO.
Three works by Shakespeare. Three weekends. One unique voyage. This workshop series is ideal for participants interested in their creative development, actors, directors, teachers, who are perhaps looking for new ways of presenting Shakespeare.
The WINTERS TALE, THE SONNETS, HAMLET.
An intensive workshop for actors, directors and teachers who are looking to expand their professional development and are looking for new ways into presenting Shakespeare in the 21st Century. Acting Shakespeare, staging Shakespeare and exploring the themes that unite these three pieces by Shakespeare.
All three workshops will look at the how Shakespeare gives us all the information we need in order for us to see our modern selves. But who are we today?
THE WINTERS TALE 7-9 march 2014 Rome.
THE SONNETS 21- 23 march 2014 Rome.
HAMLET 11-13 april 2014 Rome
HOURS OF WORK: Fridayì 16-20; SATURDAY & SUNDAY 10.30_17
PARTICIPANTS: MAX. of 20. OPEN TO: ACTORS, DIRECTORS & TEACHERS
COSTS: One workshop: 100 € Two workshops: 130 € All three: 180 €
APPLICATION: Please send your CV and a letter of motivation explaining your reason for taking part, highlighting which workshops you wish to do, to INFO@j33tre. org before 1 March 2014.
Costs of the workshop will not be reimbursed should you not be able to take part. J33tre will not provide lodgings for participants coming from outside of Rome.
ISOLA INCANTA, la Tempesta di Shakespeare raccontata ai bambini.
Raccontare La Tempesta di Shakespeare ai bambini è sicuramente una bella sfida; Prospero, Caliban, Miranda, Ferdinando...tanti personaggi e tante situazioni che si incrociano e si accavallano ad un ritmo irrefrenabile, come le ali del piccolo Ariel. Come due artigiane-cantastorie, tiriamo i fili di questa matassa ingarbugliata con l’aiuto di burattini e pupazzi di carta. Bizzarre creature abitano la nostra pic- cola isola, ed un albero molto speciale sarà il luogo prediletto per gli incantesimi di Prospero. In lontananza, l’eco misterioso e solenne di un terribile naufragio... Ma ciò che a prima vista può sembrare terribile, spesso si rivela poi un’illusione, un sogno, una magica premonizione. Noi siamo della materia di cui sono fatti i sogni, ci ricorda lo stesso Prospero. Man mano che il racconto andrà avanti assisteremo ad una meravigliosa storia sulla responsabilità e sulla qualità umana di sapersi fermare, valutare le conseguenze delle proprie azioni ed avere il coraggio di tornare indietro. Il perdono vale più della vendetta. Prospero ha dunque la forza di rinunciare ad un castigo maturato da anni, perdonando i suoi nemici. Dal groviglio della nostra matassa, escono preziosi fili ricchi di significato: il valore dell’umiltà, dei legami familiari, della saggezza contenuta nei libri, ma anche l’evasione sfrenata del sogno, del divertimento e dell’illusione. Ma l’incantesimo sarà davvero compiuto nel momento stesso in cui anche i bambini decideranno di partire con noi per questo viaggio così avventuroso, nel cuore segreto di una piccola “isola incantata”.
IL REUCCIO IMPASTATO, dal racconto di Italo Calvino
C’era una volta una Reginotta che volle fare da sé il suo sposo. Con farina, sale e un poco d’acqua creò il suo principe, lo chiamò Re Pipi e se lo sposò. Ma Re Pipi era così bello che anche la Turcacane, strega cattiva, lo volle tutto per sé. La stregaccia fece allora arrivare una grande folata di vento che se lo portò via. Iniziò così per la nostra Reginotta un lungo e magico viaggio alla ricerca del suo amore... La favola di Calvino, che fa parte della raccolta “Il Principe Granchio e altre fiabe italiane”, è una storia di intraprendenza femminile attraverso un magico viaggio, che nel nostro spettacolo viene percorso non solo dalla Reginotta ma anche dai bambini e dalle bambine presenti, accompagnati dalle narratrici che con semplici pupazzi di carta raccontano questa storia.
Roma. 23 FEBBRAIO 2014. ORE 17. CCP Tufello (Via Capraia 81). ISOLA INCANTATA, la Tempesta di Shakespeare raccontata ai bimbi.
Roma. 16 MARZO 2014 ORE 17. CCP Tufello (Via Capraia 81). IL REUCCIO IMPASTATO dal racconto di Italo Calvino.
Roma. 30 MARZO 2014 ORE 11. TEATRO TORDINONA. ISOLA INCANTA, la Tempesta di Shakespeare raccontata ai bambini
10 euro per un bambino e un adulto insieme. 3 euro ogni bimbo in più, 5 euro ogni adulto in più. Sconto del 20% a chi conserva il biglietto e lo porta in una data successiva.
The Baked King - from the story by Italo Calvino
There was once a queen who wanted to marry. With flour, salt and a splash of water she made her Prince. She called him Pipi and he was so handsome that even the evil witch wanted him all for herself.... This story is taken from Italo Calvino's collection of stories "The Crab Prince and other stories." It is a story about feminine initiative within a magical journey. In our show this journey is undertaken, not only by the characters, but also by the children present and the simple paper puppets that tell this story.
THE ENCHANTED ISLE, Shakespeare's Tempest told for young children.
Performing Shakespeare's tempest for children is certainly a great challenge; Prospero, Miranda, Caliban, Ferdinand... lots of characters and situations that intertwine themselves and develop with a light and frenetic rhythm just like the wings of Ariel.As two travelling players, we pull the tangled threads of this story with the help of puppets and characters made of paper. Bizarre creatures live on this island, and a very special tree which is our scene for the enchantments of Prospero. In the distance a mysterious and solemn echo of a shipwreck... but what at first sight could seem terribile, often reveals itself as nothing more than an illusion, a dream, a magical premonition... "We are such stuff as dreams are made on", said Prospero. Bit by bit, as the story unfolds we take part in a wonderful story about responsability and the human capacity to know when to stop, consider consequences of action and to have the courage to turn back. "Pardon is greater than revenge". Prospero has the strength to give up his long sought after revenge and forgive his enemies. From this tangled web, precious strands are pulled out: The value of humanity, family ties, the wisdom contained in books and the power of dreams. But the real enchantment begins when the children decide to leave with us on this our adventure to our tiny enchanted island...
Rome. 23 FEBRUARY 2014. 5pm. CCP Tufello (Via Capraia 81). THE ENCHANTED ISLE, Shakespeare's Tempest told for young children.
Rome. 16 MARCH 2014 5pm. CCP Tufello (Via Capraia 81). THE BAKED KING by Italo Calvino.
Rome. 30 MARCH 2014 11am. TEATRO TORDINONA. THE ENCHANTED ISLE, Shakespeare's Tempest told for young children.
10€ adult and child. 3€ for each further child, 5€ each extra adult. 20% off ticket prices who returns to see another show. Just present your previous ticket.
Europe, 1807. A time of revolution and great change.
Black was the greatest of artists. Black was the artist of the Queen. When a younger artist, Blue, arrives at court, he argues with Black over the nature of shadow, with Black insisting that without him there would be no other colour. Despite their differing temperaments, Black takes Blue as a pupil. The Queen commands a painting to be produced so Black and Blue must collaborate. The painting is a huge success but Blue feels that his efforts are barely acknowledged. Lady Red rewards Black, and Blue is overtaken with envy. Frustrated with Black, Blue leaves his teacher and begins to plot his downfall. Over time Blue becomes famous, earning much money. He gradually assumes great power and authority. He imprisons Lady Red, and slowly removes all other colour from paintings. Black is forced to confront his pupil. There is a duel and Blue wins. Now that all the colours are gone, The Queen arrests Blue and condemns him to death so that the other colours may be liberated.
As a company we had to decide how to tell this story. As painting is a visual art, it seemed only natural to use puppets to tell the story. The play investigates the nature of art, painting, friendship and professional rivalry, centering upon the relationship between Black and Blue, and their contrasting characters: Black is older, learned, shy and pedantic, whereas Blue is younger, fashionable and ambitious. The play is not about good and evil but rather the difference between tradition and modernity. The names of the two principal characters also reflect the history of these two colours in that Black was the first colour to have been used by artists around 18,000 years ago, whereas Prussian Blue was created around 1700 in Berlin. The history of art is filled with stories about profes- sional rivalry. Titian and Tintoretto for example. Thirty years stood between Tintoretto and Titian, who was perhaps Tintoretto’s master for a while. Yet a mutual disliking grew between them, and many commissions or promises of commissions appeared as attempts to outdo or thwart the other man. Though rivals, they also influenced and inspired one another. For each artist, the others’ work was a stimulus that demanded a response. Perhaps rivalry among artists is a vital source of artistic creation. The rivalry that existed between Picasso and Matisse also lit their respective genius, with Matisse once saying that “We are as different as the North Pole is from the South.” Both poles are antitheses, yet the ice around them is indistinguishable. Picasso was famously sullen, inhibited and irritated when people questioned him about his work, tried to make him explain what he was unable to explain. Matisse by comparison was lucid, intelligent and easily impressed people.
As a company, we passionately believe that the theatre must not only occupy itself with national heritage but look out beyond its own borders to discover and embrace complexity and diversity. Our aim is to create theatre for as wide and diverse an audience as possible by touring our productions and building our audience. Participating in international festivals and theatres will allow us to encounter new artists and forge international links with potential venues and producers.
Black&Blue is currently in development, with the text and designs undergoing some tweaking, rewriting and redesigning. We expect to go into preproduction later this year.
We see our future continuing to forge links between Italy and the rest of the world, developing our projects and collaborations, seeking out collaborations and creating multi-disciplinary projects, with an imaginative directness, that unite the visual and figurative arts with traditional performance. Giles Smith designs and builds all the puppets himself, which allows a greater imaginative integration with his work as director and dramaturge, as seen in the recent In The Forest (Nella Foresta) which we took to New York in 2012. We are currently without a permanent base, so our greatest priority, is to find a home where we can develop our work.￼
This project is seeking the following:
A producer /production house
If you are a producer or festival producer interested in learning more, we would love to hear from you.
Please email here so we can learn more about what you do and how you think you could help.