A workshop aiming to explore different forms of documental writing, with starting point in the puppet and animated forms theater.
Raoul Pourcelle and Stéphane Rouxel enjoy questioning reality in a singular way and they’ve been developing an interestinh work around the relation between the documentary and the puppet theater, with the addition of videos, images, objects, sounds puppets or witnesses.
“We (Les Fréres Pablof) are quite myopic. Worried about our world perception, we place it on our work. We put each other’s stories in dialogue, ou small mythologies, and we manipulate the perception of reality in real/fake documentaries, of fabricated realities into fictions put to reality, so that our world can be witnessed, imagined or remembered.
We practice a wild and mad anthropology, less concerned about the knowledge, and more curious about what people want to tell us about themselves. Afterwards, we organize these words’ conversation, with images, sounds, other words, with omissions or collisions, where we hope everyone to slip.”
Target audience: Puppeteers. actors, play directors, choreographers, plastic artists, visual and performative arts’ students.
Number of participants: 10
Language: Português e francês
Enroll until: march 13th 2022
Confirmation of participation: march 14th 2022
>> Attention: if you enroll in two workshops (“Os Bonecos de Santo Aleixo” and “A realidade posta à prova no palco”), and you’re selected for both, you’ll have a 20€ discount in this formation.
INFO AND ENROLLMENT
The enrollment in the workshop (subject to selection) is made through filling the sign up form, which you can also request via e-mail, to which you must attach a biographic note, accompanied by letter of interest. You can send the requested documents via email to: email@example.com or firstname.lastname@example.org
A documental approach on our theater, what does this mean?
It’s a form of crossing realities, lived or represented of placing dialogues on stage, real witnesses (audio or video) with the puppet and object theater fiction tools. To seek a view point, with myopic or presbyopic glasses, 3D glasses, or panoramic glasses, and look to the feet: it’s a documental approach, it’s submitting “reality” to “subjectivity”.
After a dozen of years, searching within ourselves, we question the identities of one and the others. We invite ourselves you and others, to think about who we are. In our documental approach, we capture trivialities and normalities as we track back the singularity. We don’t get the chance to tell ourselves that frequently all which happens surrounding each of us in silence. We want to create dialogues between the stories of each of us. Starting with this experience, the swapping and shared emotion quality, we create a puppet theater.
The puppet theater, of objects or animated forms, is very prone to such trajectories, from story to story, one way or another. It equally allows a wide angle lens and a narrow view point, and sometimes even a close up, and all of it in succession or simultaneously. It’s this way ot telling, researching different stories, different styles, that compares that which we made up with that which people told us about. We place in the illusion place objects, sounds, witnesses which seem more real to us because they’re familiar, because they belong to our daily reality, outside the theater. We manufacture “effects of reality”. It’s in fact in the distance between these two perceptions that we search for some kind of poetry.
To put into dialogue different materials on stage:
• Testimonials, stories, video and audio interviews.
• Puppets, object, diverse materials.
• Actor, manipulator.
To be on stage without embodying a character.
To recognize each one of these materials’ specificities, as well as their limitations
To study their complementarities and resonances.
1 – Fiction and self-fiction – To create stories with materials selected from “reality” (objects-photographs-videos-sounds).
2 – To use testimonials recorded live.
3 – To place on stage the relations/connections between the object, the manipulator and the stories.
4 – To multiply the viewpoints and the focus on the same story.
5 – To use audio testimonials.
6 – To use video testimonials.
7 – Creation in a short, solo or dual way.
The company Les Frères Pablof is composed by Stéphane Rouxel, puppeteer, actor and musician, and Raoul Pourcelle, puppeteer, actor and visual artist.
Descendents of exiled russian aristocrats and with no money, Raoul and Stéphane, born in the 60s and 70s, and in search for themselves, invented a family and question everyone about their identity.
In the late 90s, they created spaces of public intimacy, where everyone could talk about their birth. Ever since, they never ceased to question their contemporaries to recognize themselves in their own stories. They created the shows Extraits de naissance (which we could see at the FIMFA Lx7), Si j’étais une fille, La cour des Grands, Un nuage sans pantalon, eXtime, Ma place à Table, Qu’on vive! and Le grand saut.
They also worked side by side with Serge Boulier at the Bouffou Théâtre, as actors, puppeteers, and also as direction assistants and co-authors, throughout 15 years. They also collaborated in other artistic projects, with Achille Grimaud or Renaud Herbin, among others.
-Preemptive measures COVID
Accessing the workshops is only possible with the presentation of:
Digital vaccination certificate demonstrating the full covid vaccination completed at least 14 dias prior / or negative lab testing certificate(PCR performed in the 72 hours prior to the workshop) / or antigen test performed in the 72 hours prior to the workshop / or recovery certificate demonstrating the recovery from Covid infection less than 6 months prior to the date.
Self tests are not accepted.
The use of mask is compulsory inside the theater premises.
Subject to changes according to pandemic control measures.