booking contact - Assitej France Repertory
Transcription
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]