Photo: Virginie Meigné
If the first part of the show tends by its approach to burlesque to capture the attention of the viewer, the second, much more metaphorical, is strong emotions, the less comical and more visually poetic.
Evoke the passing of time, staging a woman’s life from his birth until his death, moments between which its course is punctuated with transitions, turning points, choke points, it’s what The Hanging in the Tria Fata, a show metaphorical on the theme of life, which will be the 14th program of the Festival of Casteliers.
At the end of the wire, the French Estelle Charlier, puppeteer, artistic director and co-founder of the company Hung, said that the puppet has served as a point of departure to the theme encompassing of the Tria Fata. “The puppet, we see it as a small symbol of the human being and it allows us to talk about everything thanks to the manipulators who make it live, die, who manage it. 10 years ago, when we began to think of this project, we had only small skits in mind in which it was tied to the relationships that one has with the invisible, which we handle, with the dark forces that are around us. But after a while, we realized that it would be necessary to store in a certain whole, and this is where the problems began [laughs]… Because the story for us, it was a bit of a pretext. “
If the Tria Fata recalls spontaneously the three Fates, gods of destiny from the roman mythology which, since the birth until the death, to decide the fate of the human, it will only be a matter of metaphorically in this play, which combines slapstick and poetry. The red thread that holds everything together, ” explains Charlier. “Without naming them, there is this portrayal of the three fairies. First of all, the puppeteer who runs the thread of life. And then, the last, the one that the cup and, between them, there was this woman, the central character, that one follows and how one sees the existence. “
The music is character
The idea of metamorphosis, this life changing, transforming at the whim of events that are the birth, childhood, love, was carried by a stage musical, eclectic and energetic, and signed Romuald Collinet. “Already, the puppet grows, she changes on stage. I think for example this little piece of paper on which we are going to project images throughout the room, paper that will grow at the same time as the heroine, and who will be like a slide show of his destiny, such as a photo album. Then, this paper will burn at the time of his death. The metamorphoses are in the design as in the story. As a cycle, that of the existence. We know nothing and we return to nothing, ” says the artistic director.
Estelle Charlier sharing the stage with the puppets, and Martin Kaspar Läuchli, one-man band whose music becomes a character. “It is a kind of duet,” says the artist. “During the period of creation, the music is arriving at the same time, the puppets. We tried not to add it after to illustrate what you were saying, but rather to build together. So it really has its place. “
If the first part of the show tends by its approach to burlesque to capture the attention of the viewer, the second, much more metaphorical, is strong emotions, the less comical and more visually poetic. The puppet, the object of a cult, the evocative and central, remains a medium touching and meaningful, believes Estelle Charlier. “What touches me with the puppet, it is only a few — simply the twine, fabric, wood — you can create worlds and amazing worlds crazy. You can carry the people with little things. It is this that moves me and pleases me. The emotion that can come out of this little being who lives, who dies, can be incredible and very strong. And I think that with the Tria Fata, it is precisely this strength of the puppet. “
See also the Casteliers
Inspired by the album The giving tree, a fable written in 1964 by Shel Silverstein, Philip Rodriguez tells the story of friendship between a little boy and a tree that, despite the time that passes, the life that the cripples of all, remains a confidant, and a generator of joy. The Petit Outremont march 9 and 10, (6 years and older). For all, Hullu, Blick Theatre, plunges us into the head of a young girl whose the real mixes with the imaginary. Which of the two worlds is the real one ? To find out, this will be at the Outremont theatre on 6 and 7 march. Finally, The Theatre of the eye, in co-production with Carte blanche (United States), offers small-4 years and more seasons of the foal, the history of initiation of a foal who is about to face the world.
Text : Romaric Sangars. Directed by : Romuald Collinet. Interpretation : Estelle Charlier and Martin Kaspar Läuchli. Puppets and set design : Estelle Charlier and Martin Kaspar Läuchli. Music : Martin Kaspar Läuchli. Art Direction : Estelle Charlier. A production of the Theatre of the ridiculous Man. Presented at the auditorium Paul-Gérin-Lajoie, Outremont, on 9 and 10 march.