THE LITTLE RED RIDING HOOD

The Little Red Riding Hood is a play written by the French playwright Joël Pommerat and it’s performed for the first time in Brazil by the GOMPA Project. The performance has toured inside Brazil, making part in the main theater festivals and events for the youth.

 

In the performance, while the narrator tells us the story, images and sounds are produced for the audience through dancing, set changes, music and microphones. In this hybrid language, the performance main search is to dialogue with the diversity of ages that may compose the audience by building a spectacle with multiple reception layers.

 

The work proposes itself as a “fear initiation”, as defined by Pommerat, as far as we see a little girl who wishes to leave her home and start herself into the adult life, which both fascinates and scares her greatly. After many warnings from her mother about the dangers of the road and of the life, the girl ends up facing the unknown, with everything the wolf and the road represents, as a passage rite that only the facing of fears can give us. According to the author, we often overprotect the children in an attempt of preventing their fears by avoiding their contact to limitations and darkness. This fact corroborates to the formation of adults who struggle with their own fears and feel coward when in face of the risks of living. For the psychologist Pedro Lunaris, who followed the creation process of the play, the theater is a safe place in which these experiences can occur, once the children are protected by the fictional and playful terrain that the theater engineers.

 

The performance proposes the encounter of the child to the risk of facing the unknown, dealing with topics such as fear, the fascination of the passage from the childish universe to the adult one, the solitude and family relations. There are on stage three generations of lonely women: the daughter, the mother and the grandmother. Besides these topics, a second reading layer is proposed to the audience which encompasses abandonment, seduction games, manipulations and the manifestation of our shadows (our own darkness, our most subjective and hidden facet- but which also characterizes us). It is in the disruption of these dualities that the spectacle builds itself.

AWARDS

                                 

Troféu Açorianos de Teatro 2017

Nominations:   

Best Play 
Director
Actress
Actor
Supporting Actress
Supporting Actor
Set Design
Costume
Soundtrack
Lighting

Awards: 

Supporting Actor

Costume

Troféu Tibicuera de Teatro 2017

Nominations:   

Best Play

Director

Actress

Actor

Supporting Actress

Supporting Actor

Set Design

Costume

Soundtrack

Lightining

Producer

Awards:

Best Play

Director

Actor

Costume

Original SoundTrack

RBS Award

9º Prêmio Olhares da Cena

Nominations:   
Make Up
Graphic Design
Scene photography
Soundtrack
Lightining
Set design
Costume
Supporting Actress
Supporting Actor
Actor
Director
Best play

Awards:

Director

Supporting Actor

Original Soundtrack

Costume

Troféu Açorianos de Dança 2018

Nominations:   
Set design 

Costume

Soundtrack

Lightining

Prêmio CENYM 2019

Nominations:   
Body preparation

Best Technical quality 

Soundtrack

Lightining

Awardss:   

Best Technical quality

Lightning

10º Prêmio Olhares da Cena (edição especial)
Nominations:   

Make Up

Graphic Design

Scene photography

Soundtrack

Lightining

Set design

Costume

Supporting Actress

Supporting Actor

Actor

Director

Best play

Awards:   

Original Soundtrack

Lightning

PROFEST - TEATRO 2020
Nominations:   

Soundtrack

Lightining

Set design

Costume

Supporting Actress

Supporting Actor

Actor

Actress

Director

Best play

Make Up

Awards:   

Soundtrack

Lightining

Set design

Supporting Actress

Supporting Actor

Director

Best play

Body preparation (special prize)

PHOTOS

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Text: Joël Pommerat 

Translation: Giovana Soar 

Direction: Camila Bauer 

Cast: 

Fabiane Severo 

Guilherme Ferrêra 

Henrique Gonçalves 

Laura Hickmann 

Choreography: Carlota Albuquerque 

Soundtrack and Sound Design: Álvaro RosaCosta 

Voice Preparation: Luciana Kiefer 

Set Design: Élcio Rossini 

Costumes Design: Daniel Lion 

Lightning Design: Thais Andrade 

Linghtning operation: Ricardo Vivian 

Make-up: Luana Zinn 

Masks design and manufacture: Diego Steffani 

Lightning effects: Pedro Lunaris 

 

Teasers: Camino Filmes 

Videos: Caio Amon 

Graphic Design and Visual Identity: Jessica Barbosa 

Promotion Photos: Adriana Marchiori 

Realization and Production: GOMPA Project 

Institucional Support: Aliança Francesa e Consulado Geral da França em São Paulo

TECHNICAL INFORMATION

FESTIVALS

Festival Internacional de Londrina - FILO 2017 - Londrina/PR (2017)

Festival Brasileiro de Teatro Toni Cunha - Itajaí/SC (2017)

BQ(en)cena - Brusque/SC (2018)

Festival Internacional de Teatro de São José do Rio Preto - FIT SP 2018 (SP)

Festival Caxias em Cena - Caxias do Sul/RS (2018)

Festival Internacional de Teatro, Palco & Rua de Belo Horizonte - FIT BH (2018)

Festival Isnard Azevedo - Florianópolis/SC (2018)

Festival Porto Alegre em Cena (RS) (2018)

Festival Nacional de Teatro de Presidente Prudente/SP - Fentepp (2018)

Festival Nacional de Teatro de Chapecó (2019)

Festival Palco Giratório - SESC/POA (2019)

FESTCAL - SP/SP (2019)

FESTIVALE - São José dos Campos (2019)
Inclusão em Cena - Porto Alegre (2019)

Porto Verão Alegre (2020)

IV Mostra Glênio Peres - Porto Alegre/RS (2018)

Mostra Pirlimpimpim de Teatro - Porto Alegre/RS (2018)

Mostra Espetacular - Curitiba/PR (2018)

Semana SESC de Leitura e Literatura - Cuiabá e Rondonópolis/MT (2018)

Mostra de Teatro SESC Passo Fundo - Passo Fundo/RS (2018)

Porto Verão Alegre/RS (2020)

PROFESTEATRO/MG (2020) #AtHomeEdition

THEATER SEASONS

Porto Alegre/RS (2017)

Recife/PE - CAIXA Cultural Recife (2019)

CITIES

Porto Alegre (RS), Canoas (RS), Gravataí (RS), Passo Fundo (RS), Florianópolis (SC), Itajaí (SC), Brusque (SC), Londrina (PR), Cuiabá (MT), Rondonópolis (MT), São José do Rio Preto (SP), Caxias do Sul (RS), Presidente Prudente (SP), Belo Horizonte (MG), Curitiba (PR), Manaus (AM), Chapecó (SC), São Paulo (SP), São José dos Campos (SP), Recife (PE).

PROJECT FOR SALES / PROYECTO DE VENTAS

TEASERS

PRESS

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REVIEWS

MARCO VASQUES – CAIXA DE PONTO JORNAL BRASILEIRO DE TEATRO

“Little Red Riding Hood escapes all these stereotypes and makes the necessary con-frontation to treat the childlike look with respect and intelligence. The direction, the performances, the costumes, the minimal scenario (...) are organized with such mas-tery to compose the fairy and terrible universe proposed by the performance. (...) Little Red Riding Hood is a work that fills us with aesthetic beauty and bites us with its critical vocation. It is necessary and imperious, in these disastrous, dark and ominous times, the construction of artistic events in this greatness.

Read here.

 

NORA PRADO – ENTREATOS DIVULGA

“On stage, actresses and actors dance while the story is narrated. The show appropri-ates a choreographic logic to develop body images associated with the characters. This intersection between the body arts and the visual arts enhances the scenic experience and creates in the viewer an expectation about the image to come later, especially knowing that the narrative told is already known to the majority of the audience. It is necessary to emphasize the respect with which the group deals with the reception of this public. The sensitivity of dealing with scenes of fear (…) all without underesti-mating the abilities sensory and cognitive effects of this audience.”

Read here.

 

DIB CARNEIRO NETO - PECINHA É A VOVOZINHA

“The impressive staging by the south Brazilian Camila Bauer is almost a show-instal-lation, because of the choice to keep a hollow metal structure on the scene, which the actors choreographically move from side to side in plastic harmony with the intentions of the dramaturgy, beyond the big screen in the background it shows all the time ab-stract images that are very consistent with the rhythm of the fable. [...] I also tip my hat for the excellent casting direction. The director has never neglected the voice and body of her actors - and how this has become rare…”

Read here.

KIL ABREU - TEATROJORNAL

“The group from Porto Alegre made this material a night fable, with a beautiful plas-tic and sonorous appeal and with enough opening to not render the scene to dead ends. (...) The impact is the result of what actors create in the verb and what light and sound underline. The show is unusually dark for a scene designed for children and this is good news. Light, set design and soundtrack are articulated in the play as if to place us within a dreamlike landscape in which the senses are not fully given: one has to go back to see what lies between the chiaroscuro.”

Read here.

KIKA FREITAS - O CAFE

“Children's plays do not usually cater to all audiences and tastes, even by the way they tend to be clear and specific to meet children. Contrary to this idea, the play of the Gompa Theater Company brought a retelling of the tale capable of surprising all ages - Really! [...] The adopted language manages to contemplate the public in a non-inva-sive way, where the examples given meet the perception of each one, without imposing an adult to feel infantilized, or a child to approach thematic early. Better than that, it sets precedents for little ones to better understand a more artistic language and to grow culturally. Bravo!”
Read here.

JOSÉ HENRIQUE ALVES - CRÍTICA E DIÁLOGO JH

“Gompa Project brilliantly stars in one of the early versions of the Little Red Riding Hood tale. Creating a performance that permeates various layers of the story, while still having the courage to bring a version closer to the original to the public eye. With this, stirring the imagination of the public and still exploring sensations that are marked in the memory of all.”
Read here.

 

WHAT DO PSYCHOLOGISTS SAY ABOUT THE PLAY? 

“We give to the children our most sincere vows of purity and protection. From our adult perspective, we reserve to the childhood our idyllic ideals of what life once could become. That is why this play has the potential to move adults regarding their own sensations (being those confusing, secret, childish, juvenile or adult ones). These sensations can be easily projected on thechildren, as if they could feel the weight and intensity the adult feels while watching the play - within all their path, experiences, moral, shame, repression, desires, intellect, etc. The Little Red Riding Hood’s allegory provides possible resources to access fears, braveries and anchorages. Resources that serve even for us, children who have already grown up. It constitutes itself, therefore, as a starting point, according to the spectator openness and condition. The environment built by the fantasy and by the story is the environment of the possible, of what can become. Each individual (more than the section between child and adult) access the reading layer that they can.” 

Camila Noguez, psychologist. 

 

“According to the author, we often overprotect children in an attempt of preventing them of having to deal with their anguishes and intrinsic fears which are a fundamental part of their growth, feelings such as abandonment and separation, sexuality and unfamiliarity. It is essential that we create protected places where the children can symbolically exteriorize and heal their fears. That isone of the main functions of fairy tales and fables.” 

Bodh Sahaj, psychologist 

 

“In a society afraid of feeling fear, we do not have many pedagogical spaces to explore encouraging exits for this impasse we created ourselves. The play offers us exactly that in the best possible way: the theater as a space to experience, together with our children, those spaces. And by that we can build with them the ecessary affective understandings to live life with the right amount of protection, instead of constantly taking shelter from it.” 

Pedro Lunaris - psychologist

ARTICLES ABOUT THE PLAYWRITER

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