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    The Carnival of the Animals

    The show

    The show is the result of the encounter between music and puppets and between man and animals. In a theatre-gazebo of wonders, the ironic and pressing music generates a parade of animals in the festive atmosphere of carnival. A mime accompanies the spectators through a veritable exhibition of moving images.

    In the little theatre, different atmospheres follow one another, hyper-realistic animals or imaginary puppets appear, all wrapped up in the suggestion of music and the magic of the intervention of the invisible animators.

    Listening guide

    It is paradoxical how this Suite, written in a short space of time during a rest period in Vienna in 1866, made Camille Saint- Saens much more famous than other works.
    In his will, the composer only authorised its public performance after his death, because he was mistakenly convinced that the cheerful spirit of the score did not suit his reputation. The work was composed for Shrove Tuesday and performed for the first time a year later in a Parisian salon in the presence of friends, including Franz Liszt. On 26 February 1922, a year after his death, the Paris Auditorium was finally able to hear the content of this absolutely brilliant musical “prank”.

    Gian Burrasca

    The show

    A diary full of blank pages is the gift Giannino Stoppani receives on Wednesday 20th September 1905 on the occasion of his ninth birthday: blank pages to be filled with facts and … misdeeds.

    Giannino, the protagonist, gets into a lot of trouble not because he is bad, but because he is curious, in the most positive sense of the word, because he wants his own good, but above all that of others, because he is a child open to the world and because, like all children, he has a strong sense of justice.

    We thought it would be interesting to stage the adventures of a lively child, full of the joy of living with others and full of imagination, like Gian Burrasca, at a time when children no longer receive blank diaries to fill with stories about themselves in relation to the world, in which to immortalise their days full of adventures and fantasy.

    Staging the “Giornalino di Gian Burrasca” means re-proposing an ancient story, but one that still manages to speak today of a world made up of simple but strong feelings, far away, but which still has much to say.

    Director’s notes

    Our edition takes into account not only the novel by Vamba (Luigi Bertelli), but also the historical television edition that RAI produced in 1964, directed by Lina Wertmüller, with music by Nino Rota and starring Rita Pavone.

    The black and white scene opens up like the pages of that book, reawakening to the child and adult spectator the enchantment of the simplicity of a world that no longer exists. That’s why the idea of keeping the original language of Vamba, to arouse in the child spectator the curiosity of words, the liveliness of a vocabulary that will be understandable beyond the fall in use of some terms (such as “busse”, “collegio” etc.) or the rarity of their use (“parsimonia” etc.) as it always happens in the game of theatre.

    From the screenplay we borrow the idea of having the actress play the role of GianBurrasca and all the other roles played by two other actors (the game of theatrical masquerade!) and we propose music and songs from that distant television version, even if we then move towards a completely new theatrical production, which has the flavour of an old fairy tale, in the Liberty style or early 20th century Variety, but which can speak to today’s children and adults.
    Pino Costalunga

     

    Crossings

    The show

    A boy and a girl meet by chance in a public garden and start talking. They both tell about their past: two very different pasts.
    She is the daughter of a wealthy family, but perhaps a little too bigoted and closed-minded. A family that sees in its daughter the possibility of realising dreams that are, however, only those of her parents, who are unable to recognise in their daughter a person with her own capacity to want and desire. And here are born the discussions and the quarrels, above all with the father, the misunderstandings with a mother too weak, here is born the uneasiness of the daughter, symptoms that will then lead to a violent and dangerous reaction. He, on the other hand, is a boy who comes from a distant and poor country, who has crossed the sea and experienced all sorts of mental and physical abuse, a boy in search of a well-being that he could not have in his country of origin.

    Two different stories, but both told to raise questions, to pose problems, to seek solutions together. Both to talk about the Charter of the Rights of the Child.

    This show particularly takes into consideration the following articles of the Charter of the Rights of the Child:

    • Art. 6 – you have the right to live
    • Art. 7 – You have the right to a name that must be officially recognised by the government. You have the right to a nationality (to belong to a country)
    • Art. 12 – you have the right to speak your mind and adults must listen to you and take you seriously
    • Art. 14 – your parents should help you decide what is right and wrong and what is best for you
    • Art. 32 – You have the right to protection from work that harms you, your health and your education. If you work, you have the right to security and to be paid fairly

    Anne Frank

    The show

    On her thirteenth birthday Anne receives a notebookas a present, which becomes her secret diary, addressed to Kitty, her imaginary friend to whom she confides her thoughts. The diary is Anne’s only chance to express herself, to tell her experiences and thoughts.

    But above all, Anne’s diary describes life during the two years she, her family and four other people, all Jewish, lived in hiding from the Nazi persecution, before being betrayed and deported. Anne tells us about her way of resisting the horrors of history, her tenacious attempt to remain happy despite everything. Anne remains locked in her secret hiding place just as her body is changing, her feelings are changing and becoming more complicated. She is a teenager: sometimes she is still a child, sometimes she seems grown up.

    Holed up in the attic of her father’s former factory, Anne discovers love, makes fun of people she dislikes, asks questions that are bigger than herself and, when she is very sad, dreams of places without war.

    Anne observes everything from the skylight on the roof. She sees all the evils of the world, sees the poor begging for money and the Nazis loading up the Jews on trucks. From the window high up there, Anne seems to be spying on us too, wondering if we are not all a bit the same. After all, not even a hundred years have passed since she had to hide in that shelter in Amsterdam.

    Many wars still surround us and hatred is once again stirring in Europe. From that refuge, Anne holds out her hand to the audience and seems to tell us not to be afraid, to still believe in humanity as she did, because without dreams and hope, nothin will ever change.

    In the scenic tale we will discover Anne’s true story, what she lived and felt during the hiding period and in the last days of her life.

    Through the study of original documents and studies carried out over all these years, the figure of Anne will be revealed to the eyes of the children: a courageous girl who was able to put into words much more mature than herself the events that were overwhelming her world.

    Giovannin without fear

    It may happen – or perhaps it has already happened – that some characters from the old fairy tales get lost in this world full of voices, messages, which arrive at every moment of the day and night more to confuse than to inform or tell.

    It can happen that these characters forget where they came from and cannot find their way back home.

    But we have provided a home and a voice for the ancient protagonists of fairy tales. In Giovannin senza paura an actor and four musicians “armed” with flute, clarinet, trombone and percussion tell their stories of losing and finding themselves: The story of a wolf that looks very much like the wolf in Little Red Riding Hood, but is the wolf in another story that takes place on the shores of Lake Garda, or the story of an old woman who could be the witch in Hansel and Gretel, but is not, or the story of a certain Giovannin who, without any fear, has already appeared in many other stories and finds himself stronger and more cunning than ever in this one.

    A narration and theatrical action with one actor and four instruments on stage, with original music by Gabrio Taglietti to give voice and home to ancient Italian fairy tales.

    A co-production set up in collaboration with Oficina OCM Orchestra da Camera di Mantova, original music composed by Gabrio Taglietti, with the contribution of Fondazione Cariverona within the project “Fatti di Musica”.

    Pinocchio. Tragicomic journey for noses

    The show

    Once upon a time … there was a king. No, once upon a time there was a piece of wood. Not even. Once upon a time there was the theater … The show is about to begin. The audience is already seated. Enter the actor with the inevitable suitcase and a big nose. And here comes the actor with the inevitable suitcase and another big nose. “You already said that!” our little readers will say. “I know” I reply, but the actors are two, with two suitcases and two noses and both are firmly determined to tell, alone, the story of the puppet Pinocchio …

    Immediately they begin to quarrel, nose to nose, about who will have to tell it and who will play the part of Pinocchio. The suitcases are opened and our “journey for noses” starts. Yes, because Pinocchio is nothing more than a wooden child, with a nose he is ashamed of. But the whole world is made up of noses, like the cherry red nose of Geppetto, the big nose of Mangiafuoco, not to mention the noses of the Cat and the Fox. Little Pinocchio, carried away by his curiosity and his pranks, will have to make a fantastic journey before returning, finally transformed into a real child, to the house of his father Geppetto …

    Two actors, two suitcases, infinite noses and a great classic of children’s literature. Pinocchio represents the initiation rite of a child who wants to become part of society. To do this, like all children of the well known fairy tales, he will have to leave the house and face the world, travel through the villages of Toys or Acchiappacitrulli, deal with fears (Mangiafuoco) with conscience (Grillo Parlante) with friendship (Candlewick) and with the most varied swindlers (the Cat and the fox), only after passing these tests will he finally enter adulthood (in the novel represented by the “transformation” into a child) to take care, in turn, of his own affections (the father Geppetto and the Blue Fairy). The two actors will tell the story with the help of small objects, masks, noses, puppets, stealing the parts, improvising and maybe in the end they will understand that, perhaps, to tell it in two you have twice as much fun.

     

    Little Princess

    Little Princess is a children’s reading based on the book by Ulf Stark. Translated and adapted by Pino Costalunga ‘Principessa Piccolina’ – published by Raffaello / Le Pepite editions.

    The Plot

    Why does the Little Princess with the sweet and melodious voice sing such beautiful and sad songs? Because she is not like all other children, so at least say the King and Queen. Who knows if the nice prince thinks this too, who, passing a day there, hears his sweet song … A story that tackles the themes of diversity and affectivity in a poetic and amusing way. Ulf Stark, the great Swedish writer, in his first visit to Vicenza, was fascinated by the beautiful legend of Princess Jana of Villa ai Nani, an elegant eighteenth-century mansion located on the green hills surrounding the city, he wanted to reinterpret and rewrite it. Pino Costalunga, who at the time told him about it, took care of the translation and the adaptation from swedish, making the narration ideal for children, with the help of small objects and figures.

    Age: from 4 years old

    Reading is bad for your health

    Thanks to this reading, children will have the opportunity to find themselves in front of the charm of good literature and a voice that will make them come alive. It will not be easy to escape this fascination … with the risk of become readers.

    A path to love reading

    A path also for those who do not like to read dedicated to lower secondary school students. The meeting will be set in an ironic and fun way, it will warn of the dangers of reading: “Reading can make you think and think it’s too tiring, is better not to think!” Reading can help you make choices and understand that reality is not as simple as bad TV or tamed journalism often portrays it.

    It will be assumed that many children do not like to read, without blaming children, because often the problem is that reading has really become difficult for many, as many studies show. Furthermore, many have not yet had the opportunity to encounter the right pages that triggered the spring of appreciation.

    Age: from 11 years old

    The forest of letters

    A nice story with lots of nursery rhymes to play with the spelling rules. In correspondence with the release of Pino Costalunga’s book ‘Il Bosco delle Letter’ published by the Raffaello Publishing Group – Il Mulino a Vento.

    The Plot

    Alin and Carlotta run happily to school: today their teacher has organized a strange treasure hunt. And it will be truly special, with animals, robots, secret passages, dark underground passages and a forest full of … grammar traps. An instructive and entertaining story and a collection of funny nursery rhymes to introduce young readers to Italian spelling and grammar and to understand how much fun you can actually have with rules, words and accents.

    Age: From 7 years old.

    When Findus was Little and Dissapieard

    Pettson’s books – Peter, in translation – and Findus are well known in Sweden, where they come from, and in English-speaking countries, where they are translated. In Italy the translation has not yet been edited. The story presented is a translation by Pino Costalunga. The author is precisely the swedish Sven Nordqvist of whom are also the drawings in the book that is used for the representation.

    The Plot

    The narrative is the story of a cat and its owner. Mr. Pietro lives with his chickens in a large country house and feels very alone. But one day his neighbor Bede Andersson arrives with a cardboard box that reads in large: “Findus. Green peas”. But inside there are no peas, inside there is a small, very small cat … And this is how Findus the cat becomes friends with Pietro and … many other things

    Age: from 3 years old

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