booking contact - Assitej France Repertory

PROGRAM
2014-2015 SEASON
September 26, 27, 28,2014
October 11, 12, 2014
November 14, 15, 16,2014
November 18 2014
November 23 2014
December 18, 19, 2014
January 22, 23, 24, 25, 2015
January 27, 28, 29, 30, 31, 2015
February 13, 14, 2015
March 17, 18, 2015
May 2, 3, 4, 2015
May 6, 7, 8, 9, 10, 2015
May 12, 13, 14, 15, 16, 17, 2015
2013-2014 SEASON
October 9, 10, 11, 2013
October 18, 2013
November 6, 2013
February 5, 6, 8, 2014
February 23-26, 2014
March 4, 2014
April 8, 9, 2014
April 11, 2014
May 13, 14, 2014
May 21, 2014
2012-2013 SEASON
October 17, 2012
October 23, 24, 2012
October 26, 27, 2012
December 11,12,13 2012
December 16,17, 2012
December 18, 20, 2012
January 17, 18, 2013
February 5, 6, 2013
April 13, 2013
May 14, 15, 2013
May 16, 17, 18, 2013
May 22, 23, 2013
May 29, 2013
June 26, 2013
July 11, 12, 2013
(4 performances) FIL Festival / Rio de Janeiro / BRAZIL
(4 performances) TIC Festival / Fortaleza / BRAZIL
Théâtre de poche / Hédé / Brittany
Gujan Mestras / Students and All Public
(3 performances) “The Children’s Book Room” / Isle
Centre Culturel Michel Manet / Bergerac
(5 performances) Môm’Théâtre Rombas
(10 performances) Le Grand Bleu / Lille
Kortrijk Festival / BELGIUM
(5 performances) « Les primeurs de Massy » / Massy
(3 performanceséances ) Sherbrooke / QUÉBEC
(8 performances) Les Gros Becs / Quebec / QUÉBEC
(8 performances) La Maison Théâtre / Montréal / QUÉBEC
(9 performances) L'Odyssée / Périgueux
(2 performances) Marmaille Festival / Rennes
(2 performances) Le Bouscat
(4 performances) MOMIX international Festival/ Kingersheim
(6 performances) Les rencontres enfance de l'art Festival
Saint Julien en Genevois / Haute Savoie
(3 performances) Théâtre Olympia / Arcachon
(3 performances) Espace Culturel du Bois fleuri / Lormont
(2 performances) Espace D'albret / Nérac
(5 performances) La Teste de Buch
(3 performances) Théâtre Le Liburnia / Libourne
(3 performances) Centre Culturel Simone Signoret / Canéjan
(3 performances) M270 / Floirac
(4 performances) Chapelle de Mussonville / Bègles
(5 performances) ACDDP Dordogne
(4 performances) Sur un petit nuage Festival / Pessac
(4 performances) Tournée Via La rue / Entre-deux mers
(4 performances) Théâtre de Chartres / Entracte
(3 performances) Le Plateau / Eysines
(2 performances) Petits et Grands Festival / Nantes
(5 performances) Le Cube / Villenave d'Ornon
(6 performances) Le Parnasse / Mimizan
(5 performances) Les petits dans la cour des grands Festival
National Opera of Bordeaux Aquitaine
(3 performances) La caravelle / Marcheprime
(2 performances) " Queyries fait son cirque " / Bordeaux
(5 performances) "Les rencontres enchantées"/ Saubrigues
BOOKING CONTACT
Valérie Génebès 06 82 91 43 17
[email protected]
PRODUCTION TEAM
La Boîte à sel Production (Bordeaux)
Conception: Céline Garnavault
Direction: Dinaïg Stall & Céline Garnavault
With: Céline Garnavault & KIM
Musical Direction: KIM
Lighting Design: Christophe Lescurat
Prop Design: Dinaïg Stall
Set Design: Christophe Lescurat
Booking Coordinator: Valérie Génebès
Program Design: Studio tricolore
Photography: Frédéric Desmesure
PLAY IS CO-PRODUCED BY
La Boîte à sel Company
Créa’fonds
Artistic Office of Aquitaine
Cultural Office of Dordogne: Périgord
National Opera of Bordeaux Aquitaine
Aquitaine Region’s Services for International Partnerships
City of Pessac
FINANCIAL SUPPORT FROM
The Mayor’s Office of Bordeaux
Departmental Council of Les Landes
AND SUPPORTED BY
Aquitaine Active (33)
Montréal’s Petits Bonheurs Festival (QUEBEC)
Casteliers and Montréal’s Outremont neighborhood (QUEBEC)
L'espace d'Albret,Nérac (47)
CREAC Bègles (33)
Centre Culturel Simone Signoret de Canéjan (33)
SYNOPSIS
PLAY brings the audience together in childhood by combining theatre, music, and the
manipulation of toys and materials. PLAY is a word with three meanings: playful, musical,
and theatrical, the three sides of the same triangle, like the “Play” button.
PLAY. An actress and a musicien work together to create a universe out of tape, blocks,
action figures, and toy cars… They challenge themselves to move from experiments to
accidental discoveries, just for the simple joy of having fun.
Little by little, to the rhythm of music played live by KIM, they create a moving city—a sky,
a piano, roads, a teepee, a ballet of tops—which together create the set, as simply and as
naturally as possible.
THE MUSIC
This project was sparked by KIM’s music. His universe is unique, joyful, and always
innovative. Whether on stage, through his videos, in his songs, or in his drawings, what he
shares is simple, practical, and very playful. It’s a game, where the instruments he
chooses are as surprising and fun as the sounds he coaxes from them.
PLAY’s sound is KIM on stage (or his stage double, Raphaël Thyss). The space is a
platform for his music and an engine for the game.
The instruments that we’ve chosen for this show are : a pad responsive to drumsticks
which enables a game that is both visual and physical, an omnichord, a stylophone, and a
keyboard guitar.
The soundtrack comes from KIM’s album PLAY, edited by Gimme Shelter and available on
CD at the performances or on legal downloading platforms.
To hear more from KIM: http://kimgiani.tumblr.com
REASON BEHIND THE PIECE
Children’s theatre is far from being a lesser version of other forms, it simply adheres to its
own rules.
That’s what is at the heart of PLAY : inventing our own game rules with things and music,
playing and discovering through the game, creating through the game, growing up
through the game. It’s also a lovely parable for the arts of puppetry, where anything can
come to life with a look, by a gesture from the puppet master, by a desire to believe.
Exactly like a child with his games, who discovers his body, his space, the world around
him, who makes his toy car fly, who invents a whole world with his hands and everything
that comes beneath them.
In theatre with objects, often only a look or a gesture is needed, without necessarily
needing to move the object. And that alone gives life.
Children’s games inspire. Anything can come alive, everything is potentially inhabited.
These games are not without their own costs, they are in apprehension of the real world,
they allow the person creating them to understand his or her space, to learn to control
what surrounds them. Children are used to a resistant, inflexible world.
And for the puppeteer who ventures on stage, that becomes true again. The set forces
the actor to engage the space, to engage his own body in the space, and often the
objects he encounters as well. Woven between the body and these objects, the actor
finds numerous possibilities for games according to the power and the role he decides to
give it.
This is what we want to experience in PLAY, with the simplicity, the creativity, and the
sincerity of a child sitting on his rug in the middle of a senseless mess and which only
comes alive with one’s desire to play!
Céline Garnavault and Dinaïg Stall
WHY KIDS DRAW PICTURES OF MONSTERS AND ADULTS DON'T
“In many ways, children flourish where adults fail. Children are more creative and are
natural inventors. Their worldview is incomplete and demands discovery. They prosper
because they embrace their ignorance instead of ignoring it. And they are willing to
explore, investigate and put their ideas to the test because they are willing to take risks.
Unlike adults, they don’t care how other people perceive or evaluate their ideas, and
they’re not concerned with the impossible or what doesn’t work.
Growing up, to be sure, has its benefits. As we age, our intellect sharpens and willpower
strengthens. We come to control our thoughts and desires. We identify goals and hone
our skills. But growing up comes at a cost: we lose the naiveté that facilitates creativity
and idea generation. In other words, Picasso was right: “Every child is an artist. The
problem is how to remain an artist once we grow up.”
Sam Mc Nerme - Extract from the article “Killing Creativity: Why Kids Draw Pictures of
Monsters & Adults Don't”
CHILDREN ARE SERIOUS PEOPLE
“A false and softened vision of motherhood contributes to an equally false, sentimental, and
vapid perspective of children. We continue to think of children as little, innocent, and stupid,
perpetually surprised and stupefed by what happens around them. “He is young, he doesn’t
understand anything anyway.” An observer of life, we don’t allow a child to be a protagonist
within it as long as he isn’t an adult.
But children are serious people. They are surprising workers, tenacious, tireless, attentive,
clear, and precise. From the moment that they come into the world, a child is an insatiable,
audacious, and curious explorer who employs his senses and his intelligence like a scientist,
all his energy devoted to knowing. He tries and tries again, fails and starts over with infnite
patience, until he achieves what he considers perfection, always ready to expose himself to
taking risks in a world of adults made for adults, while the world holds him back, meeting him
with derision, pity, paternalism, or indifference, never far from discouragement or failure,
always conscious of his own weakness, always involved with diffcult and frightening people,
objects, and situations. Like a vagabond, he’s curious about everything and desires to be
present in every moment. He is strongly attracted to others like him and pursues them
tenaciously, without guile nor compromise, he is irresistibly attracted by other children and is
ready to take on all the risks, all the dangers, the most violent rejections, the cruelest blows,
the hardest battles, as long as it means he can spend his time with them. Exhausting
conquests, never certain, always precarious. But he pays this no mind, he is ready to start
again, to expose himself boldly each time , encounter poor treatment, hits, bites, scratches,
with courage that belongs only to him and to others of his age, and which exists identically in
both sexes. No adult would be ready to do as much and to take on as much in order to simply
establish or maintain social relationships; but children, they’re ready for anything”
Elena Gianini Belotti
Extract from Du côté des petites flles
CHILDREN’S THEATRE
“Of course a child can’t claim to understand a world which surpasses him entirely. We can’t
ask him to understand everything (without infantilizing our words). He is simultaneously an
integral part of the world which surrounds him and accepts to be a part of the world without
understanding everything. In this way he becomes a fantastic performance partner for adults.
With his virtue being frst and foremost the ability to allow anything. A child opens every door
for an adult, whether he be an artist or an audience member. Whether it’s sensory, sound, or
based in thought (as it seems like all young people think), the universe opens in order to allow
us to explore together the territories of emotions, fears, and wonders.
And I maintain that this is how children’s theatre fnds its success and its enthusiasm, like a
just return, that it is because it creates for us a live show which is neither antiquated nor made
obsolete by a standardized audiovisual culture which we praise and from which we proft. Its
precision comes in enchanting stages with its off-kilter lines and fnding something to
resonate with all audience members, whether it’s miniscule or huge!”
Anne Françoise Cabanis
Extract from the article “Le théâtre pour la petite enfance:un passeur de vie“
“In the mysteries of small things, children are enlightened“
Nancy Huston, Extract from the book “Passions d'Annie Leclerc“
BOOKING PRICE
2 performances in one day : 2000 euros
3 performances in one day : 2700 euros
(prices does not include transportation nor board and lodging for the 3 person production team)
The booking price is VAT (Company performances are untaxed)
The performance team is comprised of 3 people.
TECHNICAL SPECIFICATIONS SHEET
GAUGE: 60 people (children and adults included)
STAGE SPECIFICATIONS: The stage area must be a minimum of 6 meters by 6 meters with height of 3.5 meters. It is
critical that the room where the performance will be given be isolated from ambient light.
AUDIENCE RECEPTION:
The space required to greet children is 5 meters by 6 meters with a perimeter depth of 1 meter surrounding it.
Expectations of the Organizer: The following items are suggested if the space is not specifically suited to receiving a
young audience.
Children will be placed as follows :
2 rows of 10-15 on the ground on cushions
1 row of 10-15 on a row of 3 20cm tall platforms
2 rows of 10-15 on a row of 6 60cm tall platforms
It is preferable to have 2 organization staffpeople welcoming and seating the children as well as being present during
the presentation.
MATERIAL TO PROVIDE :
9 platforms at adjustable heights
around 60 cushions
3 tables
carpeting to cover platforms
some chairs, just in case
2 ladders with a minimum of 6 steps
à repasser1 steam generating iron and an ironing board
3 16 amp outlets at different settings, or a 20 amp triphase inlet (tetrapolaire)
For the dimmers and direct electrical outlet
5 extension cords (3G2,5) électricité au décorto plug in the stage propos
path lighting for the audience from the lobby to the seating
maximum power consumed : 5KW /Hour
INSTALLATION DESCRIPTION:
Our installation is comprised of one self-supporting structure placed on a dance carpet.
We provide the dance carpet, the structure, the light, the stage curtains, and the bleacher lighting.
DRESSING ROOMS AND CATERING:
It is imperative to provide two dressing rooms (or two separate spaces), equipped with heating, mirrors, lighting, toilets,
and a water source. Please also provide coffee, tea, cookies, and fruit in the dressing rooms upon the the team’s arrival.
SCHEDULE:
Two 4h Set Up
In the case of a morning performance, the team will arrive in the morning the night before and will handle setup from 2pm until 8pm.
In the case of an afternoon performance, the team will arrive in the afternoon the day before and will set up
the structure until 6:30pm maximum, and then set up will be completed in the morning on the following day.
STAFF:
3 people for unloading and set up (1 light technician, 1 sound technician, 1 technician)
2 people for greeting and ushering the audience
3 people (see set-up) for break-down and loading
LA BOÎTE À SEL COMPANY
Salt box: a kind of raised counter placed at the entrance of theatres, behind which ticket
takers were tasked with distributing available places at the time of the show. We also write
Salt Box because of the smelling salts which, at other times, were placed here.
Boite à Sel Theatre Company was founded in October 2000 by actress, author, and
director Céline Garnavault, initially based in Limoges and then brought to Bordeaux in
2008. Her creations combine theater, music and puppetry in the form of shadow and object
theater. She works with objects or materials to create a unique scenography. She cares deeply
about the relationship between words, objects, and space and their dramatic aspect. She
wants to give the audience, especially young children, a space where they can make sense of
and signs on their own, experiment, create, challenge the performers in a very straightforward
and playful relationship.
Since its creation in 2000, La Boite a Sel has created 10 shows, the majority for a young
audience.
Léa les yeux clos – 2000
Duo pour trois – 2002
Léa et Léo – 2004
Café Crime - 2004
Les angelots – 2004
L’Horizon Bleu – 2005
Les angelots font leur Boum - 2008
Expérience Soundpainting – 2009
Ita-Rose – 2010
Play – 2012
Its next creation for a young audience: Les Fusées, is set to be debuted at the end of
2015.
www.cie-laboiteasel.com
La Boîte à sel
21 rue d'Agen 33800 Bordeaux
+33 (0) 7 82 21 90 10
[email protected]
www.cie-laboiteasel.com
PRODUCTION CONTACT
Céline Garnavault +33 (0) 6 62 75 21 95
[email protected]
BOOKING CONTACT
Valérie Génebès +33 (0) 6 82 91 43 17
[email protected]
TECHNICAL CONTACT
Christophe Lescurat +33 (0) 6 22 63 88 81
[email protected]