Wednesday 2 September, at 18.45
Theatre for kids at Spazio Collicola. Wednesday 2 September at 18.45 ‘Cinderella in B/W’, from Basile, Perrault and Grimm.
The show (free admission while seats last), is part of the project ‘Figuratevi in Valnerina’ in support of the cities struck by the earthquake, a project designed and managed by TIEFFEU – Teatro di figura umbro, which has chosen the show produced by ‘Proscenio Teatro’.
Actors Mirco Abbruzzetti and Simona Ripari will be on stage; original music by Giuseppe Franchellucci and Marco Pierini, costumes by Valentina Ardelli, text and direction by Marco Renzi. Puppets animation by Lucrezia Tritone, scenes by Paolo Frigi and Giacomo Pompei, voices by Venusia Zampaloni and Stefano Tosoni, lights and sounds by Simone Agostini and Matteo Fadi, with the choreographic collaboration of Manuela Recchi.
Cinderella is certainly one of the most popular stories in the world, its origin is lost in the mists of time, it is said to come from China but others claim that it was already known in ancient Egypt. The first Italian testimony is due to Giambattista Basile who reports it in his “Lo Cunto de li Cunti” (1635), while the most fortunate and well-known versions in the West are those by Charles Perrault (1697) and the Brothers Grimm (1822), which are similar but differ, especially in the ending. Our version takes its cue right from these incredible and different ways of ending the story. On the one hand Perrault forgives the misdeeds of his stepmother and daughters and even has Cinderella welcoming them in the Palace where she had gone to marry the Prince (an idea then taken up by Walt Disney in his famous animated film – we’ll call this the white version). On the other hand, we see the strike of the Brothers Grimm, who severely punish the stepsisters instead, having them blinded by two pigeons on Cinderella’s wedding day (the black version). The show faithfully follows the story through the moments most dear and known to the public of all ages; there will be Cinderella on stage in the flesh, a dress soiled with ash and another shining one with which she shows up at the party; there will be the Prince, the abandoned shoe and all the rest. There will be, as tradition of the company, animated puppets, funny situations and the direct involvement of the audience, that’ll decide which finale the plot will have through a regular vote, using the paper that will be given at the entrance by showing its white or black side. Cinderella’s story is a story of magical worlds, of extraordinary relationships with nature and animals, but it is also a story of profound injustice, of redemption, of defeated arrogance, of good that triumphs over evil. Sooner or later, in our life we all experience wrongdoings; early in our lives we see the sad phenomenon of bullying at school, and we all dream of reinstated justice; this leads us to immediately side with Cinderella from the beginning. From the point of view of the theatrical techniques used, the show features a playful contamination between the actor and the use of different kinds of animated figures, from the stick puppet with the moving arm, to the big foam rubber puppet, up to several flat animated figures. The encounter between the actor and the figure moves the show on such a fantastic level that everything becomes incredibly true, the story involves, excites, outrages and kidnaps the children immediately. From an educational point of view, it is very interesting to see how the children take sides at the end of the show, deciding among the two finales proposed: that of Perrault (white/forgiveness) and that of the Brothers Grimm (black/punishment), both are shown and let to the judgment of the audience through special cards given at the entrance, thus expressing forgiveness or punishment. It will be a moment to reflect on after school and at the same time an important opportunity to understand what moves a child’s soul. An episode that opens doors and gates, certainly as old as man, but still very topical.
Spoleto, Friday 28 August 2020