CAPPUCCETTO RED – COMUNAL AUDITORIUM – CAGLIARI – SUNDAY NOVEMBER 25 7:00 PM Reviewed by admin on . Ersiliadanza of Laura Corradi LITTLE RED RIDING HOOD with Midori Watanabe Carmelo Scarcella original music Fabio Basile morals Veronica Nieddu lighting and stag Ersiliadanza of Laura Corradi LITTLE RED RIDING HOOD with Midori Watanabe Carmelo Scarcella original music Fabio Basile morals Veronica Nieddu lighting and stag Rating:

CAPPUCCETTO RED – COMUNAL AUDITORIUM – CAGLIARI – SUNDAY NOVEMBER 25 7:00 PM

Ersiliadanza
of
Laura Corradi

LITTLE RED RIDING HOOD

with
Midori Watanabe
Carmelo Scarcella

original music
Fabio Basile

morals
Veronica Nieddu

lighting and staging
Alberta Finocchiaro

choreography, direction and texts
Laura Corradi

Charles (Perrault) is concerned: from up there where live souls, he looked down where he continues to live and to be told the tale that he wrote when he attended the court of Louis XIV, the Sun King dancer. He realizes that something is wrong, the wolf is strange, no longer appetite and melts easily. Hood you know, he had always described disobedient, but now is exceeding all limits. And the hunter then …. he had already said to the two brothers who at all costs had pulled into the story as you can never trust a guy who shoots at everything that moves? …. So, given what’s going on, this time he will have to consult their own too, as they are called, the Grimms, even though the reality is not never liked …..
So a new story comes alive to the sound of quarrels between the noble souls of the writers who are there, that clash as only adults can do, around the shapes and methods more or less effective than literary writing and early childhood education , forgetting that Little Red Riding Hood and the Wolf need them.
This is the original pretext of the show for a construction which proceeds on two levels: that of the children, Little Red Riding Hood and Wolf, who disobey the “fathers” and invent new stories, and that of adults, the writers (in this case much characterized by tones funny and ironic) that are lost in distant issues, welcoming of his knowledge, but that does not help them to solve the most pressing problem: the two characters do not listen anymore.
On the other hand it was all started from there, from Little Red Riding Hood who disobeys the instructions maternal and leave the path to go into the woods … .
Thus, in feeling a little ‘abandoned and alone, comes a strong complicity between Little Red Riding Hood and the Wolf, also supported by a surprising intervention of the Sun King, a little silly, perhaps, but sensitive and fascinated by their dance. The hunter instead, which is aimed at Riding Hood with a soft voice and mellifluous too, suggests a lack of clarity and second ends which, though not explicit, just make a negative character and formidable, in contrast to the figure of the wolf who will be generous and protective, in its own way even paternal.
This Little Red Riding Hood was born from the desire to give new meaning to one of the oldest European fairy tales and tell of all time. Also comes from one of my “wants” personal feeling a little Riding Hood to get away from the main road and inoltrarmi in a forest of possible solutions, without losing the ‘orientation and symbolic meanings always been part of this wonderful fairy tale. Through the two characters to whom I give this desire for adventure, try different solutions to tell you that you can also remove from the road known, but we must be ready to face the uncertainties of a more difficult path, as the path of a life forever strewn with pitfalls, reserves for everyone, children and adults, good and bad surprises.
It left plenty of room for fun, thanks to the rapid transformation of the two actors, a very special wolf, Little Red Riding Hood to a dynamic that comes from Japan and sometimes understand a thing for each other, the scene changes and the rapid atmosphere, the ‘irony in abundance, the overturning of situations and surprising solutions.
The whole show is primarily expressed through body language. The dance is not only a universal language without boundaries, is also the most direct and the most intensely can talk to people of all ages.
The child above all, is immediately fascinated by the dancing body because, having no superstructure, not the problem of “understanding”, but leaves invaded by an emotion without this necessarily have to be rationalized, translated, which sometimes adults can not do.
Sa grasp in a more spontaneous and natural beauty, energy and feeling, so it includes, but rather perceives, in the best way, but its deeper meaning.
Dance is a language primordial man, even before he spoke, danced. Ritual dances, tribal, have marked the evolution of the human being and have kept in touch with the supernatural forces, the cosmos, nature. Every child is closer to our ancient origins than it is any adult, so I understand more easily the message.
In the show, moreover, the two performers give their voice (live) to the various characters and interact with a recorded voice-overs.
In this revision are the deeper meanings of the original fairy tale, the clear but never explicit references oedipal childhood and some of the big questions common to all ages, such as the distinction between duty and pleasure (do what you like or what to do?) , recognition of good and evil, understanding and acceptance of the fact that they can coexist in a single entity.
Remains necessary in order to make a big emotional chaos, to grow and learn, the fear of not succeeding, attraction and repulsion, the temptation and transgression, danger, fear, complicity, figures and destructive the Saviour and, as it should be in a fairy tale, the happy ending.
The fact remains that every life is a dangerous crossing: the children, and not only them, must be able to believe that you can reach a higher form of existence, through the various stages of development that make growth. The stories about this evolution have enormous attraction for children because they are fighting the ever-present fear of not succeeding, of not being up to this “change.”
Children perceive intuitively that fairy tales are symbolic representations of life. They know that when the wolf eats Little Red Riding Hood, it is not the end of history, know that this is a symbol of rebirth. In fairy tales, the child learns to believe that the transformations are possible (in order to achieve a higher state of organization of the personality). The fairy tale in general, as well as this our new “Red Riding Hood” by which the public can follow the many changes taking place, is meant to represent the inner processes and emotional problems related to growth, indicating a symbolic way to the solution, the happy ending that we all expect from a fairy tale.

Historical path of the fairy tale: origins and variants

The fairy tale exists throughout the world since the sixth century BC, then evolved in different cultures coming to the version notes.
The story of Little Red Riding Hood goes back to the oral tradition of European regions. The theme, eternal and tragic as that of many fairy tales, the danger is always lurking violence against children. Told is the first time in ancient Greece and with travelers and exchanges between cultures, travels around the world. Changed with each particular: in China the wolf becomes a tiger in Iran is accompanied by a small boy.

The first version of Little Red Riding Hood is a fairy tale Aesopic dating back to 2600 years ago. So the tale is much older than previously thought.

Over time, the stories have undergone changes as biological organisms, or were handed down badly and have been reinvented or rewritten. But the similarities remain. In Iran, for example, he’s not a girl who roams alone in the woods or elsewhere, and is accompanied by a boy. In China, the wolf was an animal little known, then the local Red Riding Hood is attacked by a tiger. Similar versions of the fairy tale developed in Japan, Korea or Burma. And in the world of fairy tales the German wolf tries to devour even seven kids.
We know that the tale was told as early as the fourteenth century in France. In an ancient Italian version of the fairy tale, “La finta grandmother,” Little Red Riding Hood is able to defeat the wolf relying only on his wits. Some say that this version is closer to the original, the character of the woodcutter was added later to suggest, perhaps, the idea that male-grandmother and granddaughter could not save himself without the help of a man.

In any case, the written version of the oldest tale is “Le Petit Chaperon Rouge” (“Little Red Riding Hood”), appeared in 1697, in the collection of stories “The Tales of Mother Goose” by Charles Perrault. The French version of the narrator is left to the next – and most famous – of Grimm. In it, Little Red Riding Hood is eaten by the wolf with his grandmother, with no happy ending. At the end of the story, Perrault provides an explicit explanation of morality that has clear sexual references.

This version of the story, including moral conclusions, was told almost identical to Collodi, in his collection of fairy tales “The fairy tales.”

In the nineteenth century, two German versions of the tale were told by Grimm aifratelli and Jeanette Marie Hassenpflug. The two philologists became one of the two versions in the main story, and the second into a sequel. The first, titled “Rotk√§ppchen” was included in the first edition of their collection “Kinder-und Hausm√§rchen” (1812). In this version, the girl and her grandmother were rescued from a hunter interested in the wolf’s pelt. In the second story, Little Red Riding Hood and her grandmother, the experience gained with the first wolf can kill another.
The final review of Grimm, which follows, is that of 1857.

Tickets: November 25, 2 and 16 December : Full price ‚ā¨ 10 – ‚ā¨ 8 reduced
December 9: full ‚ā¨ 22 – ‚ā¨ 18 reduced
.
Subscription 4 shows ‚ā¨ 32
.
For info and reservations call 070 73 21 181

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