El NoNo
"En un lugar de la Italia de cuyo nombre no quiero acordarme...."
Adaptación del cuento de Stefano Benni "La reparazione del nonno".
Este Espectáculo para todas las personas de cualquier edad es una obra de actores y títeres
Producción del Colectivo con el Apoyo de Mecenazgo Proyecto Cultural
Interpretada por : Veronica Abbiati
Gabriela Daniell.
Natalia Gerardi
Marcela De Grande
Dirección : Fernando Avila
Realización : Anibal Flaminni
Oscar Arturo
Adaptación: Marcela De Grande
Arreglo Vocal : Pino Enriquez
En ocasiones ciertas puestas te remiten a algo que uno no puede
sacarse de la cabeza mientras se es espectador.El nono me remitió a Si una noche de invierno un viajero de Ítalo Calvino, no es difícil
responder por qué. La novela de Calvino juega con la ruptura constante del
relato (llega un momento en que uno ya sabe que se va a enganchar en una
narración y que no puede esperar ni por asomo el cierre, ni siquiera la
continuación)... entonces lo que se pone en juego es el trabajo con el propio
procedimiento de narrar, se focaliza el mecanismo.
El cuento que es punto de partida para esta puesta, La riparazione
del nonno de Stefano Benni, refiere a un abuelo contador de cuentos que se
rompe, se rompe en tanto contador de cuentos. El nono se dedicaba a contar aventuras,
amores, terrores, guerras, con él la tele no era necesaria. Pero. Un día deja
de contar.
La propuesta es para toda la familia. Y la decisión de elección es
revolucionaria (pequeña revolución sí, pero con qué alcance). Las razones son
dos: una, sin duda la construcción del títere-abuelo (una pequeñita al lado mío
preguntaba ¿y dónde están los títeres? Sin duda, ella y muchos niños más
empezarán a ampliar su concepto de títere-objeto a partir de presentaciones
como ésta) (en seguida me dedicaré al mismo); la segunda razón, es que “ponen a
funcionar” al abuelo para que cuente un cuento y el cuento se interrumpe (ahí
mi recuerdo de Calvino) y no se volverá a retomar. Lo que es profundamente
interesante porque da cuenta de nuestras narrativas contemporáneas,
fragmentadas, rotas, inconclusas, todo eso, naturalizado. Nadie espera ni busca
el final de la historia y el relato deriva en otra cosa, el conflicto se
orienta a ver cómo se puede reparar al abuelo.
Son cuatro las actrices que juegan también a actuar (y o/a
manipular), cantan, iluminan, en fin, reproducen el procedimiento del armado
propio de una historia.
El trabajo con los objetos necesita un comentario aparte. En
primer lugar, aparece una silla, sí, una silla con función-silla. Pero plegada
y un poco en decadencia. Sirve para invitar a alguien a que se quede en el
lugar. La acomodan y le suman un pedazo de madera en un espacio ausente. Es
decir, el primer acto de manipulación incluye a la silla. Predomina la madera,
gastada y los colores en una gama coincidente, lo que arma un sistema en el que
el nono no va a desentonar.
Cuando el abuelo “cobra vida” (perdón por la metáfora inadecuada)
en manos de las manipuladoras podemos observarlo en toda su extensión, un
bellísimo objeto trabajado con un nivel obsesivo de detalles no denunciados por
el material, sus dedos tienen un movimiento de Parkinson, sus ojos son
expresivos (con un mecanismo que es mejor no comentar pero que se ve frente a
uno de sus “arregladores”), el títeres se abre para dejar lugar a ciertas
sorpresas, y la madera cuando cae, lo hace con toda la connotación posible de
la vejez que se deja vencer. Materia, construcción, manipulación dejan bien en
claro que el nono está roto (por eso, además es brillante la idea de que sea un
muñeco).
Hay más objetos en escena pero vale la pena ir a verlos. Podríamos
decir que es una propuesta para toda la familia que sale de las propuestas
tradicionales, con una concepción poética profunda, con humor, con una mirada
inteligente y que no es prejuiciosa con respecto a la comprensión de los
espectadores menudos. Verónica Abbiati, Gabriela Daniell, Marcela De grande y
Natalia Gerardi en escena, con la dramaturgia de Marcela De Grande, la
realización de objetos de Aníbal Flamini y Oscar Arturo, arreglos vocales de
Pino Enríquez y la dirección de Fernando Ávila. Andan dando vueltas por ahí
porque no les gusta mucho quedarse quietos, no está mal ir a buscarlos para
cruzarse con este abuelo roto de los cuentos ¿se lo podrá arreglar?
Publicado 12 hours
ago por Mónica Berman
"In a place of Italy whose name I do not remember ...."
Adaptation of the story of Stefano Benni "The reparazione del Nonno".
This show for all people of any age is a work of actors and puppets
Collective production with the support of Patronage
Interpreted by
Veronica Abbiati
Gabriela Daniell.
Natalia Gerardi
Marcela De Grande
Director: Fernando Avila
Criticizes Monica Berman
Sometimes certain put you refer to something that one can not be removed from his head as he is referred me to espectador.El nono If on a winter's night a traveler by Italo Calvino, is not difficult to answer why. Calvino's novel plays with the constant disruption of the story (there comes a time when you already know to be engaging in a story and can not wait nowhere near the end, not even then) ... then what is at stake is the work narrating the procedure itself, the mechanism focuses.
The story is the starting point for this setting, La riparazione of nonno Stefano Benni, refers to a counter grandfather stories that breaks, it breaks as storyteller. The ninth was dedicated to telling adventures, loves, terror, wars, with him the TV was not necessary. But. One day stops counting.
The proposal is for the whole family. And the decision of choice is revolutionary (small revolution yes, but to what extent). The reasons are two: one, certainly the construction of puppet-grandfather (a little girl next to me asked what where puppets are undoubtedly her and many more children will begin to expand their concept of puppet-object from presentations? like this) (soon I will dedicate myself to it); the second reason is that "put to work," the grandfather to tell a story and the story is interrupted (hence my memory of Calvin) and will not return. What it is profoundly interesting because it realizes our contemporary, fragmented, broken, unfinished narratives, all that, naturalized. Nobody expected nor seeks the end of the story and the story drift into something else, the conflict is aimed to see how you can repair grandfather.
There are four actresses who play well to act (and / or manipulate), sing, light, finally reproduce the process of self assembly of a story.
Working with objects require a separate comment. First, a chair a chair-chair feature appears, yes. But folded and a little decadent. It serves to invite someone to stay in place. The fit and add a piece of wood in an absent space. That is, the first act of manipulation includes the chair. Predominant wood, worn and colors in a matching range, which sets up a system in which the nono will not clash.
When Grandpa "comes alive" (sorry for the inappropriate metaphor) in the hands of manipulators we can observe it in its entirety, a beautiful object worked with an obsessive level of detail not reported by the material, your fingers have a movement of Parkinson, his eyes are expressive (with a mechanism that is better not comment but is facing one of its "arrangers"), the puppet opens to make room for some surprises, and wood when it falls, it does so with all the connotations old age possible to be outdone. Material, construction, handling make it clear that the nono is broken (so it is also brilliant the idea that it is a doll).
There are more objects in the scene but worth going to see them. We could say that is a proposal for the whole family coming out of the traditional proposals, with a deep poetic conception, with humor, with a smart look and is not biased with respect to understanding the giblets spectators. Veronica Abbiati, Gabriela Daniell, Marcela and Natalia largest Gerardi on stage, with the dramaturgy of Marcela De Grande, conducting objects Hannibal Flamini and Oscar Arturo Pino Enriquez vocal arrangements and direction of Fernando Avila. Lying around there because they do not really like to sit still, not bad go looking to cross with this broken grandfather of stories do you can fix it?
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Sometimes certain put you refer to something that one can not be removed from his head as he is referred me to espectador.El nono If on a winter's night a traveler by Italo Calvino, is not difficult to answer why. Calvino's novel plays with the constant disruption of the story (there comes a time when you already know to be engaging in a story and can not wait nowhere near the end, not even then) ... then what is at stake is the work narrating the procedure itself, the mechanism focuses.
The story is the starting point for this setting, La riparazione of nonno Stefano Benni, refers to a counter grandfather stories that breaks, it breaks as storyteller. The ninth was dedicated to telling adventures, loves, terror, wars, with him the TV was not necessary. But. One day stops counting.
The proposal is for the whole family. And the decision of choice is revolutionary (small revolution yes, but to what extent). The reasons are two: one, certainly the construction of puppet-grandfather (a little girl next to me asked what where puppets are undoubtedly her and many more children will begin to expand their concept of puppet-object from presentations? like this) (soon I will dedicate myself to it); the second reason is that "put to work," the grandfather to tell a story and the story is interrupted (hence my memory of Calvin) and will not return. What it is profoundly interesting because it realizes our contemporary, fragmented, broken, unfinished narratives, all that, naturalized. Nobody expected nor seeks the end of the story and the story drift into something else, the conflict is aimed to see how you can repair grandfather.
There are four actresses who play well to act (and / or manipulate), sing, light, finally reproduce the process of self assembly of a story.
Working with objects require a separate comment. First, a chair a chair-chair feature appears, yes. But folded and a little decadent. It serves to invite someone to stay in place. The fit and add a piece of wood in an absent space. That is, the first act of manipulation includes the chair. Predominant wood, worn and colors in a matching range, which sets up a system in which the nono will not clash.
When Grandpa "comes alive" (sorry for the inappropriate metaphor) in the hands of manipulators we can observe it in its entirety, a beautiful object worked with an obsessive level of detail not reported by the material, your fingers have a movement of Parkinson, his eyes are expressive (with a mechanism that is better not comment but is facing one of its "arrangers"), the puppet opens to make room for some surprises, and wood when it falls, it does so with all the connotations old age possible to be outdone. Material, construction, handling make it clear that the nono is broken (so it is also brilliant the idea that it is a doll).
There are more objects in the scene but worth going to see them. We could say that is a proposal for the whole family coming out of the traditional proposals, with a deep poetic conception, with humor, with a smart look and is not biased with respect to understanding the giblets spectators. Veronica Abbiati, Gabriela Daniell, Marcela and Natalia largest Gerardi on stage, with the dramaturgy of Marcela De Grande, conducting objects Hannibal Flamini and Oscar Arturo Pino Enriquez vocal arrangements and direction of Fernando Avila. Lying around there because they do not really like to sit still, not bad go looking to cross with this broken grandfather of stories do you can fix it?
Traductor de Google para empresas:Google Translator ToolkitTraductor de sitios webGlobal Market Finder
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