The witch and the human eat have no chance. Which puppet theater in Liepaja and Riga / day

Always when children are staged to create a slightly scary atmosphere, there are a number of questions: whether it is good at the age of age it is advisable to watch, etc. In the new production of Liepaja Puppet Theater Ansītis and Gretina Age censor has been indicated from five years – just like the Latvian Puppet Theater show Tomcat in bootsin which there is no distinctly disturbing picture – unless we sympathize with the transformation of a transformation in video projections, whose mouse is eaten by a tomcat, a lovely on the screen. The witch, on the other hand, is fucked in caramel without ceremonies.

Brothers Grimm and Charles Pero tales today, when parents try to protect their children from any negative emotions and anxiety, are not easy to stag, as they are written in the harsh understanding of what is permissible in the fairy tale world. However, we remember that nobody rescues the Red -headed Nobody in the first -manner – the fairy tale ends with a shifting, and a point.

Sweets from a foreign aunt

The previous experience of the director and playwright Antas Priedīte is already working with all the stories of sherps – to commemorate Willa theater production August, soup non -eater, In which even several heroes got a bad end because they didn’t eat soup or played with matches. An annotation on the Grimm brothers Ansitis and Gretina The stage version, visually implemented by stage designer, puppet and costume artist Aigars Ozoliņš, is mentioned as a source of inspiration « for children and young people Dark film and cartoon style with WednesdayTo, in the way, Adams family and Transylvania as the most prominent examples of the contents of the show and visual expression « .

By combining puppet and object theater techniques, the show really focuses on telling the story, but the creation of the atmosphere, and Robert Dinter’s music and Jan Brash’s lights are involved in the process. The text has repeatedly emphasized that this is not a fairy tale with a happy ending, and it has also been repeatedly mentioned that all events are based on hunger. Half and noises, as the appropriate mood, accompany the show along its entire length. There are some peculiar accents in the text itself, such as separated kinship links, mentioning Ansitis’ dad and Gretina’s mother several times, as if it were not one family.

The minimalism of the decoration is played in a variety and ingenious, but occasionally does not leave the feeling that the way everything happens has employed more than what is actually happening at the story level as the action moves forward. The authors are not too interested in brother -sister relationships, but quite expanded to the very situation that parents are ready to get rid of the offspring they cannot provide. There is no witch house on the stage, and the evil person has a very expressive skirt. When Inga Amber’s witch enters the audience to offer sweets to children, the audience is not afraid of her and is ready to get the promised, but it is noteping that sweets should not be accepted from strangers.

Madara Enkuzen, Alexander Jonova and Inga Dzintare (other composition Ilze Ročāne), the scenic existence of the show respects the stylistics of the show, remembering the presence of ghostly not only in visuality but also in the actor play. However, at least in the outing, in Pinki, where the hall is larger than the Liepaja Puppet Theater, the energy of the show was not all over.

Lives without the Richard

Directed by Vija Blues in the stage version of Charla Pero Tomcat in boots The Latvian Puppet Theater is quite different – bustling – the atmosphere: the actors in the conversation find that there will be no Richard, looking for who will replace him, find and then play a fairy tale with puppets. I have not found out if the reason for such a prologue is that actor Richard Zeleznev really does not play all the tomcat or Jacques, but at the Liepaja Puppet Theater, as the director, he staged a show for Franca Kafka’s motives.

Tomcat in boots Note the tradition-Anita Znutiņa-Show dolls are like a museum, but the very way in which the story is told is very open, and in the stage design, artist Ineta Sipunova has used aesthetics that create the feeling that she has not been lived without the involvement of artificial intelligence. Video projections also show Irbes, which Runcis hunted the interests of the royal interest, and the entire human eating epic is also addressed in dialogue with variable images on the screen. In other words, video lines are solved with the technically difficult to solve with dolls, given that only four actors employ in the small hall: Anrijs Sirmais basically runs the tomcat, Martins Gailis – Jacques and a few more heroes, Kristin Varsa is a princess (but not only). The fact that actors can afford to play with a self -ironic distance gives the show a certain freedom and playfulness, which is further enhanced by composer Mikus Frishfeld’s entire freestyle approach to the material – he has introduced even a medieval disco. Thus, without going into the moral of Charles Pero, that evil beings can be deprived of life, property and property and completely calmly gather in the castle conquered, however, the show is, however And Jacques can finally kiss the princess.

Latvian Puppet Theater for the show Tomcat in boots Artist Anita Znutiņa-Sheve has created dolls, respecting classic samples. The actors are quite unlocked – no one forgets for a moment that we are in the theater. Photo – Matisse Markovsky

The sun’s two teeth

Continuing at the Latvian Puppet Theater performance Chuči, pillow! Director Dana Avotiņa-Lace has created a stylistically similar staging Clean tooth and ball. The name signals the didactic orientation of the show, encouraging them to focus on oral hygiene (though industry professionals would have something to say about the tooth cleaning technique of the celestial bodies), but in total 25 minutes of clean shows, actresses Irina Coast and Cane Dishlere played freely with dolls and spectators.

This is the case where the theater would be worth pointing not only the age from which the show is recommended, but also the upper age threshold of the child, after which he will seem too simple to see the events in the show. I understand that such performances for parents with very young children are needed and valuable, as evidenced by the interest of the audience, but I do not have the leculum to measure this work. In other words, at least for the time being, the value added in such performances is the family’s joint theater visit and the atmosphere that can be converted with lights and sounds.

Ansītis and Gretina

Liepaja Puppet Theater 12
Tickets Ticket paradise in a network of EUR 12

Tomcat in boots

In the Small Hall of the Latvian Puppet Theater 26.IV, 11.V 11 and 14, 13, 14V 6:30 pm, 7.VI 11 and 14
Tickets Ticket paradise in the network of EUR 18

Clean tooth and ball

Latvian Puppet Theater Chamber Hall 29, 30, 30, 31.V, 1, 3, 18, 19 10
Tickets Ticket paradise in the network of EUR 18