The Wandering Orchestra the WANDERING Orchestra

Total Page:16

File Type:pdf, Size:1020Kb

The Wandering Orchestra the WANDERING Orchestra the wandering orchestra THE WANDERING ORCHESTra An unusual orchestra arrives at the festival in a very special vehicle, full of ancient instruments: a violin, a cello... The musical quintet looks in vain for the place where they have to perform their concert. But nobody knows where they have to play, where they have to go, neither with whom they have to talk to. WHAT MAY HAVE HAPPENED? HAVEN’T THEY BEEN PROGRAMMED? OR MAYBE, IS IT THAT THEY ARE IN THE WRONG TOWN? No matter they use their own vehicle or they go on foot. They are confused. They choose the wrong way, the wrong house, the wrong place. They would like to play their concert, but the circumstances do not allow them to do it. They will never play, but they will always conquer the place to transform it and interact with the people in an unexpected way. MASTERS OF CHAOS, they create scenes wherever they wander, and laugh and confusion are constant: • In the streets, where they are lost and ask people where their concert is programmed. • In the theatre, where they are searching for the most special place to surprise the audience. • Before any official ceremony, show or true concert, when the musicians are already on stage and the director is about to make his entrance. Wherever they are, they never stay more than some minutes, and then, they disappear, to reappear somewhere else, at any other time. the company Sergi Estebanell has been trained by masters of clown such as Eric de Bont, Theatre Organic, Leo Bassi, Koldo and Jule; in phy- sical theatre with Norman Taylor and Tapa Sudana; and in street theatre with Adrian Schvarzstein and the Jeanne Simone Company, among others. Humor and street theatre, although he has been recently working as an actor and director for opera and circus theatre projects. He has created and directed the shows of the La Banda Company, humor theatre. He is an actor and founder of the Kamchàtka Company. He directs last show of the Fadunito Company. He is co-director and actor in “Call me Maria production. He has been director assistant and opera actor in “Oh, Gran Fernando July 2010, in the Styriarte Festival, in Graz (Austria). Since 2011, he also perfoms in the show Lengua de las Corbatas”, with the French-Catalan company Los Afinados. Claudio Levati was born un Italy, in 1975, where studies pia- no and guitar. His career as an actor starts after a first contact with the commedia dell’arte and the improvisation theatre, becoming a professional actor in the improvisation theatre matches in iItaly. He arrives in the world of clown and the street theatre being trained with Jango Edwards, Peter Ercolano, Eric de Bont, Ian Algie, Loco Brusca, Johnny Melville and Adrain Schvarzstein. From November 2004 to the moment he lives in Barcelona and keeps on performing in the streets, in cabaret shows and in street theatre festivals with different shows and companies: the Kamchàtka Company, of which he is actor and cofounder; Loco Brusca in ‘Baka Shtruchk’; Xirriqui- teula Company in ‘Papirus’; and the Fadunito Company in ‘+75’. Judit Ortiz has been trained in clown with Sergi Estebanell and Theatre Organic; she specializes in street theatre and impro- visation thanks to Adrian Schvarzstein. She creates the company La Banda, humor theatre, where she performs as an actress in the shows “Máximo Riesgo” and ‘S.A.E’. She belongs to the Kamchàtka Company in all its shows. She is an actress in the company Fadunito, with which she creates the show ‘+75’ . Apart from being an actress, she directs for the first time in “Passar a millor vida the company Teatre Animal. Josep Roca has been trained as a clown with Àlex Navarro, Ca- roline Dream, Michel Dallaire, Eric de Bont and Sergi Estebanell; as a buffon with Lisa Jacobson and Gil Becher, and street theatre with Miquel Crespi, Jeanne Simone Company and Adrian Schvarzstein. He has performed in creations of different disciplines: ‘Rivel, una vida de conte (oral narration). ‘L’home de vi’ (performance-installa- tion) or ‘Entre somnis’ (street theatre). He is also teacher in initation of theatre. Thnaks to Adrian Schvarzstein, he enteren in the world of street theatre, being an actor and one of the cofounders of Kam- chàtka Company. Santi Rovira is an engineer who managed to live by one’s wits. His first contact with the theatre world was creating the child’s thea- tre company ‘Els trapelles’ in 1994. Since 2001, the year he discove- red the magic of tales, he has been on tour around Catalonia with his storytelling shows for family audiences ‘Contes llunàtics’, ‘Un ar- bre de contes, ‘Contes dins una ampolla’, ‘La Revolta de les lletres’, ‘La formiga Josep Maria’, … All of the shows are a personal creation. As an actor and narrator, he has been trained by Numancia Rojas, Ada Jacobson, among others. Encouraged by Adrian Schvarzstein, he entered in the word of street theatre in an international level, creating and belonging to Kamchàtka Company as an actor. Adrian Schvarzstein is a mix of Spanish, Argentinian, Italian and… Whatever! Clown, actor, circus and theatre director, Adrian Schvarztein is a very energetic entertainer-showman!. He works in the world of theatre since 1989. He studies commedia dell’arte with Antonio Fava in Italy, but he was brought up thea- trically around Europe, where he created and wordked in different street theatre companies, visual theatre, opera, baroque music and advertising. He created ‘Klezmer’, a circus show which is still on tour; he was a member of Circus Ronaldo with ‘Fili’ and ‘Brick a Barack’. His first solo creation is ‘Greenman’, followed by ‘The bed’ (which won the prize to the best actor in the Haifa Festival in 1998), and ‘Dans’. He creates and directs the Kamchàtka Company, which won the big prize at the Miramiro 2008. In 2010, he creates and co-di- rects the circus-theatre production ‘Call me Maria’. He receives the award to best circus theatre director of Catalonia in 2010, award given by Zirkòlika, a magazine specialized in circus. materials vídeo of the show http://www.youtube.com/watch?v=4sOzziIj54s photos of the show: https://picasaweb.google.com/114695128671586869805 © OnnoDeBever, © Robert Lagendijk, © Kamchàtka. contact Circulant, Circ en moviment! Jordina Blanch tel. (+34) 616 504 410 / 93 356 27 17 [email protected] / www.circulant.cat Moll de la vela, 2 (Parc del Fòrum BCN) La Central del Circ - Oficina 4 C.P. 08930 St. Adrià del Besós (Barcelona) http://www.youtube.com/user/CIRCulantCIRC http://es-es.facebook.com/pages/Circulant-circ-en-moviment/253201011379986 https://twitter.com/#!/CIRCulant.
Recommended publications
  • FRENCH INFLUENCES on ENGLISH RESTORATION THEATRE a Thesis
    FRENCH INFLUENCES ON ENGLISH RESTORATION THEATRE A thesis submitted to the faculty of San Francisco State University In partial fulfillment of A the requirements for the Degree 2oK A A Master of Arts * In Drama by Anne Melissa Potter San Francisco, California Spring 2016 Copyright by Anne Melissa Potter 2016 CERTIFICATION OF APPROVAL I certify that I have read French Influences on English Restoration Theatre by Anne Melissa Potter, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts: Drama at San Francisco State University. Bruce Avery, Ph.D. < —•— Professor of Drama "'"-J FRENCH INFLUENCES ON RESTORATION THEATRE Anne Melissa Potter San Francisco, California 2016 This project will examine a small group of Restoration plays based on French sources. It will examine how and why the English plays differ from their French sources. This project will pay special attention to the role that women played in the development of the Restoration theatre both as playwrights and actresses. It will also examine to what extent French influences were instrumental in how women develop English drama. I certify that the abstract rrect representation of the content of this thesis PREFACE In this thesis all of the translations are my own and are located in the footnote preceding the reference. I have cited plays in the way that is most helpful as regards each play. In plays for which I have act, scene and line numbers I have cited them, using that information. For example: I.ii.241-244.
    [Show full text]
  • Harvey Study Guide
    STUDY GUIDE SHOW SYNOPSIS HARVEY, the classic Pulitzer Prize-winning Broadway and Hollywood comedy, pulls laughter out of the hat at every turn. Elwood P. Dowd is charming and kind with one character flaw: an unwa- vering friendship with a 6-foot-tall, invisible white rabbit named Harvey. When Elwood starts to introduce his friend to guests at a society party, his sister Veta can't take it anymore. In order to save the family's social reputation, Elwood's sister takes him to the local sanatorium. But when the doctor mistakenly commits his anxiety-ridden sister, Elwood and Harvey slip out of the hospital unbothered, setting off a hilarious whirlwind of confusion and chaos as everyone in town tries to catch a man and his invisible rabbit. DISCUSSION QUESTIONS BEFORE THE SHOW AFTER THE SHOW Has anyone ever been to a live play before? How was Did you enjoy this performance? What was your it different from television or a movie? favorite part? What is the difference between a play and a musical? Who was your favorite character? Why? Why do you think some of the characters, Have you ever seen the movie Harvey? particularly Elwood, can see Harvey and others Did you have an imaginary friend as a young kid? can’t? What do you remember about them? Do you think Veta made the right decision in not allowing her brother to receive the medicine? Why Could you imagine still having an imaginary friend or why not? as an adult? How do you think others would respond Do you think Harvey is imaginary? Why or why to you in this situation? not? THEATRE 101 Ever wondered how to put on a play? ACTORS The actors are the people that perform the show There are many different elements that go into putting a show onstage.
    [Show full text]
  • Mitchell Brothers – Vaudeville and Western
    Vaudeville and the Last Encore By Marlene Mitchell February, 1992 William Mitchell, his wife Pearl Mitchell, and John Mitchell 1 Vaudeville and the Last Encore By Marlene Mitchell February, 1992 Vaudeville was a favorite pastime for individuals seeking clean entertainment during the early part of the 20th century. The era of vaudeville was relatively short because of the creation of new technology. Vaudeville began around 1881 and began to fade in the early 1930s.1 The term vaudeville originated in France.2 It is thought that the term vaudeville was from “Old French vaudevire, short for chanson du Vaux de Vire, which meant popular satirical songs that were composed and presented during the 15th century in the valleys or vaux near the French town of Vire in the province of Normandy.”3 How did vaudeville begin? What was vaude- ville’s purpose and what caused its eventual collapse? This paper addresses the phenomenon of vaudeville — its rise, its stable but short lifetime, and its demise. Vaudeville was an outgrowth of the Industrial Revolution, which provided jobs for peo- ple and put money in their pockets.4 Because of increased incomes, individuals began to desire and seek clean, family entertainment.5 This desire was first satisfied by Tony Pastor, who is known as the “father of vaudeville.”6 In 1881 Pastor opened “Tony Pastor’s New Fourteenth Street Theatre” and began offering what he called variety entertainment.7 Later B. F. Keith, who is called the “founder of vaudeville,” opened a theater in Boston and expanded on Pastor’s original variety concept.8 Keith was the first to use the term “vaudeville” when he opened his theater in Boston in 1894.9 Keith later joined with E.
    [Show full text]
  • Festival Program Canberracomedyfestival.Com.Au
    Over 50 Hilarious Shows! Festival Program canberracomedyfestival.com.au canberracomedyfestival canberracomedy canberracomedy #CBRcomedy Canberra Comedy Festival app ► available for iPhone & Android DINE LAUGH STAY FIRST EDITION BAR & DINING CANBERRA COMEDY FESTIVAL NOVOTEL CANBERRA Accommodation from $180* per room, per night Start the night off right with a 3 cheese platter & 2 house drinks for only $35* firsteditioncanberra.com.au 02 6245 5000 | 65 Northbourne Avenue, Canberra novotelcanberra.com.au *Valid 19 - 25 March 2018. House drinks include house beer, house red and white wine only. Accommodation subject to availability. T&C’s apply. WELCOME FROM THE CHIEF MINISTER I am delighted to welcome you to the Canberra Comedy Festival 2018. The Festival is now highly anticipated every March by thousands of Canberrans as our city transforms into a thriving comedy hub. The ACT Government is proud to support the growth of the Festival year-on- year, and I’m pleased to see that 2018 is the biggest program ever. In particular, in 2018, that growth includes the Festival Square bar and entertainment area in Civic Square. The Festival has proven Canberra audiences are on the cutting edge of arts participation. Shows at the Festival in 2017 went on to be nominated for prestigious awards around the country, and one (Hannah Gadsby) even picked up an impressive award at the 2017 Edinburgh Fringe Festival. I’ve got tickets for a few big nights at the Festival, and I hope to see you there. Andrew Barr MLA ACT Chief Minister CANBERRA COMEDY FESTIVAL GALA Tue 20 March 7pm (120min) $89 / $79 * Canberra Theatre, Canberra Theatre Centre SOLD OUT.
    [Show full text]
  • Tom Greder Workshop Overview
    T O M G R E D E R 2020 Finding Comedy: Theatre, Play, contemporary clown OSKAR Tom Greder. Obergasse 21, CH-2502 Biel. +41-32 322 5562. [email protected] and creativity workshops Contents: Page: Workshop Introduction 1 Pedagogy 2 - 3 Content 3 Summary graphic 4 Key Vocabulary 5 Teaching History 6 Testimonial 1 7 Testimonial 2 8 Additional Testimonials 9 School Workshop Testimonials 10 Tom Greder tomoskar.com | kinopan.com [email protected] +41 (0)788 911 965 Workshop introduction In addition to 31 years experience as a circus, cabaret, street and theatre performing artist, Tom Greder directs and conducts regular creativity, performing, communication and team-building workshops throughout the world. Based on 'Play' as being the fundamental expression of human creativity and the basis of meaningful interaction and problem solving, the workshops encourage a personally relevant and transformative expression for all those who want or need it. Toms' distinct approach focuses on the relationship between the 'Person', 'Character' and 'Artist' in all of us. By understanding, exploring and harmonising the often conflicting nature of these “inner voices”, participants gain a clearer awareness of themselves, their talents and their creative process. The inspiring and challenging workshops are aimed at anyone who wishes to gain a deeper insight into their creativity and abilities, and develop an empowered and liberated stage presence. 1 OSKAR Tom Greder. Obergasse 21, CH-2502 Biel. +41-32 322 5562. [email protected] Workshop Pedagogy In order to create articulate and engaging communication or poignant performance, a deeper level of understanding about the human condition has to be awakened.
    [Show full text]
  • Re Educate (6).Pdf
    R E E D U C A T E M E ! 2 0 1 8 - 2 - P L 0 1 - K A 2 0 5 - 0 5 1 3 5 5 0 1 . 1 2 . 2 0 1 8 - 3 0 . 1 1 . 2 0 2 0 F U N D A C J A A C T I V E K I D S ( P O L A N D ) T S A R S I M E O N V E L I K I S E C O N D A R Y S C H O O L ( B U L G A R I A ) T H A L I A T E A T R O ( S L O V A K I A ) F U N D E D U N D E R T H E E R A S M U S + P R O G R A M M E T H E R E E D U C A T E M E ! P R O J E C T I S A C O M M O N I N I T I A T I V E O F 3 P A R T N E R S : - F U N D A C J A A C T I V E K I D S ( P O L A N D ) - T H A L I A T E A T R O ( S L O V A K I A ) - T S A R S I M E O N V E L I K I S E C O N D A R Y S C H O O L ( B U L G A R I A ) .
    [Show full text]
  • A Season in Federal Street J
    A Season In Federal Street J. B. W^illiamson and the Boston Theatre 1796-1797 BY JOHN ALDEN F each autumn brings with it its own atmosphere of ex- I citement and suspense at the opening of a new theater season, we who experience it share no doubt a feeling as old as the theater itself. And we can the more readily project ourselves backwards to the evening of September 19, 1796, when the curtains of the Boston Theatre parted upon the first scene of Reynolds's comedy, The Dramatist. Emotions on both sides of the footlights may well have resembled ours today: optimistic anticipation tempered by an awareness of the uncertain fortunes of the stage. The fact of the matter is that the season of 1796-97 in Federal Street was a disastrous one. But the very misfor- tunes of the ten months in question provide the substance of our interest in it today. Had the season been a successful one, it would probably mean that we should know less about it, for the disasters which fell upon the Theatre have left their skeletons from which it is now possible to recon- struct more effectively the theatrical life of Boston over a century and a half ago. It is true that both W. W. Clapp in his Record of the Boston Stage (Boston, 1853) and G. O. Seilhamer in his History of the American Theatre (Philadelphia, 1881-91) have already given a generous picture of the early drama in Boston. There remains, however, a copious body of documentation regarding the Federal Street Theatre from which much IO AMERICAN ANTIQUARIAN SOCIETY [April, may be learned.
    [Show full text]
  • Street Theatre for Edutainment”
    “STREET THEATRE FOR EDUTAINMENT” A PARTICIPATORY RESEARCH CONDUCTED WITH YOUTH IN DELHI 5th April,2010 Anjali Capila, Phd Associate Professor, Department of Development Communication and Extension, Lady Irwin College, University of Delhi. Pragati Bhalla, Post Graduate, 2010, Department of Development Communication and Extension, lady Irwin College, University of Delhi. Abstract Youth constitute an important section of our society. They are the biggest reservoir of human resources and are the future of our country. Their development has direct affect on the development of the nation. Street Theatre is not a moment’s act. It is a participatory approach which deals with fictional narratives and thus used for communicating important societal issues. It allows individuals to express themselves in their own unique way. The freedom to participate is always there. The influence of Theatre activities on development can be seen as it stimulates life skills and challenges the attention of the participants and audience. Life skills are developed through experiential learning. Skills are always developed through active participation in activities that enable young people to sharpen their thinking, social and self- management skills. The context and environment in which activities take place influences the outcomes not only in terms of building life skills but also sensitizing the youth on the issues that are focused in the activities. The present study entitled Street Theatre for Edutainment: A participatory research with youth in Delhi was conducted with the active participation of young people who developed Street Theater to communicate messages among audiences. The views of participants from various colleges of Delhi about street theatre were also sought.
    [Show full text]
  • The Nineteenth-Century Home Theatre: Women and Material Space
    The Nineteenth-Century Home Theatre: Women and Material Space Ann Margaret Mazur Pittsburgh, Pennsylvania B.S. Mathematics and English, University of Notre Dame, 2007 M.A. English and American literature, University of Notre Dame, 2009 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of English University of Virginia May, 2014 © 2014 Ann M. Mazur Table of Contents Acknowledgments…………...…………………………………………………………..…..……i Dedication…………...……………………………………………………………………………ii Chapter 1 Introduction: The Home Theatre in Context……………………………………...………………1 Chapter 2 A Parlour Education: Reworking Gender and Domestic Space in Ladies’ and Children’s Theatricals...........................63 Chapter 3 Beyond the Home (Drama): Imperialism, Painting, and Adaptation in the Home Theatrical………………………………..126 Chapter 4 Props in Victorian Parlour Plays: the Periperformative, Private Objects, and Restructuring Material Space……………………..206 Chapter 5 Victorian Women, the Home Theatre, and the Cultural Potency of A Doll’s House……….….279 Works Cited………………………………………………………………………………....…325 Acknowledgements I am deeply grateful to the American Association of University Women for my 2013-2014 American Dissertation Fellowship, which provided valuable time as well as the financial means to complete The Nineteenth-Century Home Theatre: Women and Material Space over the past year. I wish to thank my dissertation director Alison Booth, whose support and advice has been tremendous throughout my entire writing process, and who has served as a wonderful mentor during my time as a Ph.D. student at the University of Virginia. My dissertation truly began during an Independent Study on women in the Victorian theatre with Alison during Spring 2011. Karen Chase and John O’Brien, the two supporting members of what I have often called my dream dissertation committee, offered timely encouragement, refreshing insight on chapter drafts, and supported my vision for this genre recovery project.
    [Show full text]
  • Guide to the William K
    Guide to the William K. Everson Collection George Amberg Memorial Film Study Center Department of Cinema Studies Tisch School of the Arts New York University Descriptive Summary Creator: Everson, William Keith Title: William K. Everson Collection Dates: 1894-1997 Historical/Biographical Note William K. Everson: Selected Bibliography I. Books by Everson Shakespeare in Hollywood. New York: US Information Service, 1957. The Western, From Silents to Cinerama. New York: Orion Press, 1962 (co-authored with George N. Fenin). The American Movie. New York: Atheneum, 1963. The Bad Guys: A Pictorial History of the Movie Villain. New York: Citadel Press, 1964. The Films of Laurel and Hardy. New York: Citadel Press, 1967. The Art of W.C. Fields. Indianapolis: Bobbs-Merrill, 1967. A Pictorial History of the Western Film. Secaucus, N.J.: Citadel Press, 1969. The Films of Hal Roach. New York: Museum of Modern Art, 1971. The Detective in Film. Secaucus, N.J.: Citadel Press, 1972. The Western, from Silents to the Seventies. Rev. ed. New York: Grossman, 1973. (Co-authored with George N. Fenin). Classics of the Horror Film. Secaucus, N.J.: Citadel Press, 1974. Claudette Colbert. New York: Pyramid Publications, 1976. American Silent Film. New York: Oxford University Press, 1978, Love in the Film. Secaucus, N.J.: Citadel Press, 1979. More Classics of the Horror Film. Secaucus, N.J.: Citadel Press, 1986. The Hollywood Western: 90 Years of Cowboys and Indians, Train Robbers, Sheriffs and Gunslingers, and Assorted Heroes and Desperados. Secaucus, N.J.: Carol Pub. Group, 1992. Hollywood Bedlam: Classic Screwball Comedies. Secaucus, N.J.: Carol Pub. Group, 1994.
    [Show full text]
  • Amusements in Lancaster 1750-1940
    Amusements In Lancaster 1750-1940 By FELIX REICHMANN When I first discussed the topic of my paper with Dr. Herbert H. Beck I had in mind a very broad view of the intellectual pastime in Lancaster. But soon I realized that it was impossible to approach this problem without detailed preliminary research. Consequently I had to narrow down my sub- ject. Instead of describing how people in Lancaster used their pastime, which still remains a challenge in my mind, I had to confine myself to one phase of this pastime, to theatre and movie. This paper does not intend to give a complete history of the theatrical amusements in Lancaster. It is meant as a methodical outline which attempts to show the important turning points in the development of the Lancaster theatre and to find the interrelation between amusement and cultural trends in the city and country at large.1 Social events are very complicated; they are interdependent of the various fields of human activity. Different trends which seem to lead to opposite di- rections are joined together. The historian who attempts to disentangle the multi-dimensional weaving of life must take care not to confuse the single thread with the whole fabric. When I mention in this paper French or Ger- man influence, the frontier spirit or the middle class attitude, I ask you to understand that I consciously over-emphasize one thread. 1 I am indebted to many persons who helped me to clarify different issues. First of all, to the librarian of the society, Mrs. Charles M.
    [Show full text]
  • Street Theatre and the Art of Being Together (Itinerary of International Street Theatre Festival Ana Desetnica 2015, Ljubljana)
    Samo Oleami Street theatre and the art of being together (itinerary of International Street Theatre Festival Ana Desetnica 2015, Ljubljana) What is laid out before you are some lines of thought, a collection of notes and impressions I had during my first full time engagement with a street theatre festival from the view of a theatre reviewer. I don't claim any objectivity or universality of mental tangents pursued here, rather they were a way for me to make sense of what I've experienced and the discussions I've had with street artists who were kind enough to let me enter their world. My path though the festival was probably as particular as anybody else's as my professional desire to see all the shows in Ljubljana had to admit defeat and unconditional surrender the very first day, as did the idea of me attending festival's breakfasts. Therefore, I can only talk about the shows that I have seen. So, a theatre critic walks into a street theatre festival... My talks with the artists on the 1st day of the festival – “Who is this guy?” My first day in my full capacity as a theatre critic at a street theatre festival was spent trying to orient myself and find entry points into this performative practice. Probably the festival was figuring the same thing about me – Ellen (the intern) said it would be less intimidating to present myself as “a reviewer” than “a critic”. Instinctively I tried to fall back on my reservoir of knowledge regarding contemporary theatre practices and performance art, not to much success.
    [Show full text]