DA.TE DANZA BELLEZA DURMIENTE

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DA.TE DANZA

BELLEZA DURMIENTE

Contemporary Tale For Youth

Scenic genre: contemporary dance Recommended age: 12 to 18 years Duration: 55 minutes

Coproduction

A coll aboration project with

Distribution

Paula Canales

Teatractiu Gestió Cultural, Barcelona TLF.: +34 933 953710 / +34 607 764841

E-mail: teatractiu@teatractiu.com www.teatractiu.com

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SYNOPSIS

The grenadine company DA.TE DANZA presents a show which thinks over about the transition from childhood to adolescence, about those hundred-year of sleeping, solitude and metamorphosis.

Is an updated version of the traditional story, that from the Charles Perrault compilations in 1697 from nowadays, it has continued captivate to readers.

The play aims to show through the dance and music what happens in the life of a modern

“Sleeping beauty”, with all hers troubles and aspirations. Today’s viewers are not the same and we cannot, therefore, rid of what we know and feel.

The XX Century has promoted scientific knowledge that were unknown by our ancestors, feminist revolution has given to woman an extraordinary social role, new information technologies have transformed radically human relations, most of the world’s population live now in big cities, education and culture aren’t minority privileges, travels outside their home country are becoming more frequent and accessible. That means that the citizens of our time have little to do with those who lived two or more centuries ago. Forests, castles, princesses, wolves ... are now literary symbols, not real entities.

They can help us, however, to understand streets, skyscrapers, people or nowadays fears.

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Dramatic sequence

1. Farewell to childhood. The dolls are left out.

2. Say no. The curse. Goodbye to and from the father.

3. The temptation of the forbidden.

4. The entry into the forest. The long adolescent sleep.

5. Loneliness and metamorphosis. Desire and fear to grow up.

6. Who am I? Be yourself.

7. Sexual fantasies. Discovery of the adult world.

8. The strength of the group. Adventure. Risk.

9. Discovery of love. Conquest. The kiss.

10. One hundred years is nothing. Awakening to a new life.

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ARTISTIC TEAM

Dramaturgy Juan Mata

Direction Valeria Frabetti and Omar Meza Choreography Assistant YutakaTakei Gestural movement Collective

Dancers Celia Sako, Rosa Mari Herrador, Jean Leman, MarieKlimesova and Iván Montardit

Musical Composition Jesús Fernández Scenic Space Design José Antonio Portillo

Scenery production Marcos Orbegozo and Kuzar Trusses & Towers S.L.

Audiovisual direction Jordi Pla Audiovisual editing Yutaka Takei Patch Video Nicolas Barraud Lighting Design Ernesto Monza

Costume Design and Making up Javier F. Casero and Capi Vallecillo Executive Producer Luis fas

Photography Eugenio Gravina

Management/administration Cristina Vílchez Clipping Press RRHH

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COMPLETE PLAY DOSSIER

Presentation

Based by the success of previous productions (Crystal Dreams, 2003 and Alonso Quijano the Good, 2005), the 58 International Festival of Music and Dance in Granada orders to the company DA.TE DANZA, for the third time in six years, the performing of a new contemporary dance play intended for teen audiences (from 12 to 16 years).

This new performance is the result of the recognition and confidence placed in DA.TE DANZA by the Festival, for the respect developed in recent years and for the commitment and effort in maintaining the company values and professionalism in each and every one of the creative process.

Sleeping Beauty is a play that tries to approach to the teen world through the dance, that conflicting period of anatomical and psychological metamorphosis that precedes the own personality bloom. Those “thousand years” of apparent absence, of peaceful sleep, are actually the symbolic period between childhood and youth, between dependence and autonomy.

To show what happens in contemporary “sleeping beauties” lives, with their conflicts and aspirations, is the main objective of the play. And it’s done through bodies movement and rhythm, which is how dancers express. The DA.TE DANZA company also makes it with the intention of showing teenagers that the language of dance and music can talk about what they are and what they feel.

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Background and historical reflections

Sleeping Beauty is one of the best known and most captivating fairytales in the world.

Whether through the voice, the pages of books or screen cinemas, the story of a young teen lost in a dream of one hundred years has stimulate the imagination of millions of people. As in most folk tales, its attraction lies in the powerful image that conveys: a fifteen years girl that, because of a curse, she must lie and sleep for a long period of time, but hers beauty and freshness won’t be deteriorate during that time.

As with the tales of anonymous oral tradition, it is very difficult to determine the origin of Sleeping Beauty. It is very likely that it was born in India or China, like many other stories that we believe originated in Europe, because there are very similar stories in those Eastern countries. It is also possible to find similarities in characters and episodes from Greek mythology. Many stories were originally popular myths that had been blurred over the centuries. The truth is that many European medieval stories realize about girls that fall into a long sleep because of some charm or spell.

One of the earliest known written versions of the Sleeping Beauty tale was published in Italy between 1634 and 1636. The author, Giambattista Basile, included it in a collection of stories titled Il Pentamerone, which gathered stories from the popular tradition of this country. The story of Sleeping Beauty collected in that book is different than the one was collected by Charles Perrault in France a decade after or which was done by the Grimm brothers in Germany in the nineteenth century, to cite some of the oldest and known European versions. Although they maintain the main plot, there are episodes and characters that are not on all of them. In modern versions of the tale some parts of the original story have been abolished too.

Is convenient to know that there are also tales, less known, telling the story in reverse: the sleeper is a young boy, who is wakened up by a girl after overcoming many dangerous tests. Tales of the Sleeping Beauties girls are, however, more abundant.

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Viewers today

The interpretation of Sleeping Beauty that we can do in the twenty-first century it can’t be the same as has been done in past centuries. Today's viewers are not the same and therefore we can’t let go of what we know and feel. The twentieth century has promoted scientific knowledge that our ancestors did not know, the feminist revolution has given to women an extraordinary social role, new information technologies have radically transformed human relationships, most of the world's population now live in big cities, education and culture are not privileges of minorities, travel outside the country are becoming more frequent and accessible. That means that the citizens of our time have little to do with those who lived two or more centuries ago. Forests, castles, princesses, wolves ... are now literary symbols, not real entities.

They can help us, however, to understand streets, skyscrapers, people or nowadays fears.

But despite all these changes, many features of human nature remain intact. Life cycles are not very different from what was experienced hundreds of years ago. Childhood or adolescence are stages of human development that depend more on biology than on history. What have changed are the way of judging or values, but in essence are the same.

Dance speaks

These considerations have led the company DA.TE Danza to perform a contemporary interpretation of the old tale of Sleeping Beauty. And it wanted to concentrate on this period of apparent inaction and lack of communication that is adolescence. These were years in which, in the eyes of adults, adolescents seem to be 'asleep', that is to say, impassive, apathetic, outsiders to the world. They are not related as before, they withdraw into themselves, they turn away from people around them. Some of the adjectives that adults often lead them have to do with this state of sloth: dazed, stunned, stupefied ...

These epithets realize the perception that we have about that period in which seems that nothing happens, but in which many physical and psychological changes occur. The body changes, but also ideas and perceptions of people and things.

The truth is that compared to the feats that carried outward rises another type of conquest that is the personality. Self-discovery is also a difficult and risky task. That absorption is often confused with passivity and reluctance, but it is actually a period of reflection and research. They are going through moments of loneliness and uncertainty, suffer disappointments, fears are unexpected are presented, new emotions are discovered, old habits are waived, take risk, sexuality is rampaged, dreams and ambitions are forged.

Summarizing, some doors are closed and others doors are opening.

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Some considerations about the creative process

A very important aspect for understanding the creative process of this project is the work that the company has developed in five Secondary Schools from Granada and the province. Through a participatory selection process five teenagers were selected (four girls and one boy) aged between 12 and 18 years. The proposal: to write a letter to themselves with the idea that they will read it when they are thirty years old. They have to tell themselves how they are, how they feel and how they relate to others.

These opinions, these letters have been, without doubt, a major hotbed from where the entire project's artistic team of Sleeping Beauty has been able to soak up. Their tastes, their feelings, their humor, their loneliness, their movements, their gestures ... All these sessions have served the director, dramatist, choreographer, dancers .... To move a step closer to the complex feelings of a teenager in 2009.

All this process has been collected on video and some of these recordings, with striking and poignant opinions of the teenagers are used in the play as audiovisual material to be projected and integrated dramatically on the scene.

The triple objective of this "field work" with teenagers is the performance and editing of a short documentary that may be proposed in the classroom as teaching aids.

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Biographies

Juan Mata, Professor in the Department of Teaching Language and Literature at the University of Granada. He collaborates regularly with the Childhood Education Council, the Granada City Orchestra and the Science Park , as well as with various puppet and contemporary dance companies whose work for children, he has written for DA.TE DANZA texts of A horse in Heaven, Half of the truth is in the eyes, Sons of the Stars and Alonso Quijano the Good.

Valeria Frabetti, director of the Company La Baracca and Teatro Testonni Ragazzi of Bologna, a pioneering center in Europe in research, production and diffusion of culture for children. She has participated in previous shows of the company: Crystal Dreams, Alonso Quijano and Tondo Redondo.

Yutaka Takei, Japanese-born choreographer who has developed in France, Italy and Japan, his own artistic research in different expression sites: theaters, galleries, museums .... Nowadays he runs his own dance company in Paris, Forest Beats, and he has been working with DA.TE DANCE in different training projects since 2006.

Jose Antonio Portillo, artist, editor, producer, programmer and designer versatile performance spaces, as well as being closely linked to pedagogy and the arts in general.

Nowadays he is linked to the Area of Culture of the City Council of Benicassim, where he is responsible for programming the Municipal Theatre.

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THE COMPANY Plays and trajectory

The Contemporary Dance Company DANCE DA.TE was born in the city of Granada under the artistic direction and choreography by Omar Meza in October 1999 with the objective to show and raise awareness of contemporary dance as a modern language, alive and suitable for telling committed stories. The company's main activity is the production and subsequent distribution of contemporary dance and dance-drama plays mainly for children and young people. Since 2004 the Company DA.TE DANCE is in concert with the Ministry of Culture of the Junta de Andalucía through Biennials Production Plans.

DA.TE DANZA is a consolidated project that has acquired as own identity signs like professionalism and commitment. At the present time the company is formed by a team of ten professionals who develop their activity in three areas of work: management / production team, artistic team and technical team.

Since its creation the company has premiered with success of the critics and the public the following shows:

Un Caballo en el Cielo (1999)

La Mitad de la verdad está en los ojos (2000) Hijos de las estrellas (2002)

Mua, Mua (2003)

Sueños de Cristal (2003) Don Lindo de Almeria (2005) Alonso Quijano el Bueno (2005) Tondo Redondo (2006)

Orquesta en Danza (2006) Oh .. Mar! (2007)

Signos de Arena (2007) Sueña (2008)

Fronteras (2009)

Belleza Durmiente (2009) Río de Luna (2010) Tres Silencios (2011)

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DIRECTOR AND CHOREOGRAPHER

Omar Meza was born in Mexico City in 1964, starting his training as a dancer at the School of Ballet Independiente "TRAINING" in the NATIONAL INSTITUTE OF FINE ARTS, and in the school Espacio del Alba of Mexico City, where he studied ballet, contemporary dance , improvisation and folk dance, choreographic composition with Ana Sokolov and choreography with Jeff Duncan.

Later he did master courses in Nakbani and Guatemala Corpus companies and the Dance Workshop of Caracas company, which he will eventually form part as a principal dancer. Also he will work in companies like Espacio del Alba, Ballet Metropolis and Ballet Teatro del Espacio de Mexico DF.

The Omar Meza career’s pass by through different countries and develops a wide range of styles and techniques, leading finally to work in 1993 at the Neuer Tanz Company of Düsseldorf (Germany), which will mark an important artistic aspects of the later work of Omar as a choreographer; and later, in 1994 he created his first work entitled" When the Stars fail to shine "

for young choreographers of FOLKWANG HOCHSCHULE, ESSEN (Germany). After this first creation as a choreographer, Omar works as guest student at the Folkwang Hochschule, Essen.

In 1995 he created and founded "Hojarasca" company in Burgos (Spain), this opens the way for the development of Contemporary Dance in the Community of Castilla y León. It is at this point that the dancer Omar Meza began his career as a choreographer stable of his own company, firmly committed to contemporary dance in Spain. Omar Meza has been doing since his stay in Spain many choreographic works, courses, workshops and conferences for public and private institutions, festivals, theater and dance companies both in Spain and other countries, aimed at adults and children audience, teachers, artists and pedagogues.

The commitment and professional experience of the dancer and choreographer Omar Meza and the great support of the Junta de Andalucia and the National Institute of Performing Arts and Music, as well as the collaboration of the Alhambra Theatre, enabled the birth of DANCE DA.TE company in Granada, city that has always greatly influenced the universal culture.

DA.TE DANZA is created in Granada with the objective and the illusion of bringing dance to everyone. Despite its youth and thanks to the rigor of its work and to the sensitivity of its staging, DA.TE DANZA has already become a reference of quality in the field of contemporary dance, collaborating with musicians, painters, playwrights, set designers ... interested in associating their craft and intelligence to future shows and projects of the company

Associated company to

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PHOTO GALLERY

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TECHNICAL DATA

Optimal Stage Size:

 10 METERS WIDE

 9 METERS DEEP

 6 METERS HIGH FLOOR

 WHITE LINOLEUM (ITS PROVIDED BY THE COMPANY) Scenery

o ALUMINUM STRUCTURE 8.36 M OF MOUTH, 8.36 m deep, 4m high (adjustable to space stage)

Machinery

 5 ELECTRIFIED RODS ON STAGE AND GROUND CIRCUIT, ONE FRONTAL.

 SPACE TO THE GERMAN

 1 BLACK BACK CURTAIN AND TWO WINGS TO THE SIDES OF THE STRUCTURE

 4 COUNTERBALANCED OR MOTORIZED RODS Lighting

 55 DIMMER CHANNEL TO 2.4 KW each, with DMX-512 PROTOCOL

 13 PAR 64 1KW Nº 5

 5 PAR 64 1 KW Nº 1

 15 25º/50º STAGE WASHES (4 PORTAGOBOS)

 4 15/30 STAGE WASHES

 14 PC 1Kw

 18 1Kw PANORAMIC LIGHTS

 3 BT F1

 4 LIGHT TOWERS

 18 GROUND BASES OR 6 LIGHT TOWERS

 10 CIRCUITS TO THE RIGHT OF THE STAGE FLOOR, 10 TO THE LEFT AND 6 TO THE BACKGROUND

Sound

 1 CD PLAYER WITH AUTO PAUSE OPTION AND CD-R READER

 APLIFICATION SYSTEM ACCORDING TO THE SIZE OF THE HALL

 2 MONITORS FOR DANCERS

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Control

 THE CONTROL OF LIGHT AND SOUND SHOULD BE PLACED IN A PLACE WHERE THE STAGE CAN BE HEARD AND SEEN WITH COMFORT

Staff on Tour

 4 DANCERS

 2 TECHNICIAN.

Staff required for assembly

 2 PEOPLE FOR LOADING AND UNLOADING

 2 ELECTRICIANS, 1 SOUND TECHNICIAN, 2 MACHINISTS.

MINIMUM SET-UP TIME

 6 HOURS Dressing Rooms

 Enough Dressing Rooms for 4 people.

 Hot water showers.

 Provision of bottled water.

Contact telephone:

Technical: Ernesto Monza + 34 625019638 e-mail: tecnic@datedanza.com

THIS IS THE BASIC RAIDER FOR A PROPER PRESENTATION OF THE SHOW, BUT IT CAN BE ADJUSTED IN ACCORDANCE WITH THE CHARACTERISTICS OF THE THEATRE , WITH A PREVIOUS AUTHORIZATION AND NEGOTIATION FROM THE DIRECTOR

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Figure

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