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| AVUI.
13/11/2000
Delicious
performance...
I swear I was hooked from start to finish.
Jordi
Jané. |
LA
VANGUARDIA. 14/11/2000
An
excellent mark for Rocamora with his production "Small
Suicides".
Santiago
Fondevila. |
DIARIO
DE CADIZ. 13/12/2003
One
of the most original works of the last times. Original and
surprising by its ability to do of something so simple a work
of great penetrated conceptual.
Javier
Miranda. |
POETAS
NO SINGULAR. 14/11/2010
The manipulation of the objects, the lighting, the music and
the performance of Carles Cañellas makes the public
drown with the tablet, burn with the match and reflect on
our condition of mere hosts in the world. A brilliant show.
A show to be applauded with the soul.
Marco
Vasques. |
PUPPETRING.
09/02/2012
Three small exorcisms of theatre of objects that I would not
doubt in describing, also, like three small and lovely philosophical
studies on the time and the space.
Toni Rumbau. |
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|
presents |
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SMALL
SUICIDES
(three brief exorcisms
of quotidian use)
by GYULA MOLNÁR
Recreation
of the original production of Gyula Molnár’s
(Giulio Molnar) Theatre of Objects. Dramatisation
involves extravagant ritual language in which the object
is not transformed to play roles or characters in line
with human fortunes, but instead plays itself with surprising
dignity, either accepting or trying to escape its function
as an object.
For
youngsters and adults.
For theaters.
DESCRIPTION
Small-format show for one actor and a
lot of animated objects
SYNOPSIS - SCHEDULE
ALKA-SELTZER,
an effervescent tragedy.
After several attempts to elude its obvious condition,
an Alka-Seltzer tablet ends up in the marsh of its
marginality.
PITA and JÖRG,
the ardent metamorphosis of a coffee bean and a match.
The flamboyance of the fascinating and delightful
Pita leads Jörg, a young Swede, to lose his head
for her and become consumed by love.
TIME, tragicomic
poetry… On the passage of time.
(Pulling faces in the mirror of a poetic image)
BACKGROUND
(text
provided by Gyula Molnár from a press criticism)
Towards the end of the 1970s an international expedition
of pioneers ventured into the then unexplored world
of objects to excavate and dig up material for study.
One member of the team, who believed more than the others
that he would find the possible subject of his vocation
in the mission’s objective, so penetrated the
unknown that he is still adrift among the ruins. He
is still there, excavating, among signs that are dying,
among shapes that are becoming extinct. He is digging
in several directions because the content is ample enough
to prevent touching the same point again and again and
risking repeating oneself. When the other expedition
members came out into the world bringing their precious
treasure, among the large number of findings were three
archaeological fragments that he himself had discovered
and collected: the "PICCOLI SUICIDI"
Trilogy. The greatest authorities date these works from
the beginnings of the history of Object Theatre and
provide the clearest and most basic testimony to date
of the existence of this genre.
PRESENTATION
Gyula Molnár
was born in Budapest in 1950. He lives in Hungary until
1962, and then he is going to live in Bavaria. He studies
in the school of Fine arts of Venice from 1968 to 1973.
He exercises the carpenter's trade until 1976. Since
then he works only to the theatre as author, actor,
and director and occasionally as draftsman and scenographer.
Between his more known works there are: "Small
Suicides", "The Sleepwalker" and "Gagarin".
"SMALL
SUICIDES (three brief exorcisms of quotidian use)"
is an adaptation and recreation by Carles Cañellas
of the original production "PICCOLI SUICIDI
(tre brevi esorcismi d'uso quotidiano)"
that Gyula Molnár created and
premiered in 1984 and performed almost everywhere with
enormous success. Despite the time that has gone by,
experts in object theatre still think of it as a cult
work. It is a chapter apart in the history of European
Theatre. This dramatisation belongs to what is known
as Theatre of Objects, and it's a necessary step to
follow a logical evolution of contemporary Theatre.
Molnár after
seeing a video of his version, wrote to Cañellas
in these terms:
"Bravissimo. Exciting. You're terrific. I feel
honored. Thank you."
SMALL SUICIDES
is dramatised using extravagant ritual language
in which the object is neither disguised nor transformed
to play roles or characters in line with human fortunes,
but instead plays itself with surprising dignity, either
accepting or trying to escape its function as an object.
The actor does not use the objects, but helps them to
express themselves. It's moving and thrilling bareness
and sobriety, both in its (highly poetic) dramaturgy
and production, moves away from spectacular Martingale
techniques in order to focus on the essence of theatre.
CREDITS
Author and
Co direction: .....
|
Gyula Molnár |
Adaptor, Co
director & Actor: ..... |
Carles Cañellas |
Production:
..... |
Susanna Rodríguez |
WHAT THE
CRITICS HAVE WRITTEN :
Jordi Jané.
AVUI. 13/11/2000
Delicious performance ... I swear I was hooked
from start to finish ...
|
Santiago Fondevila.
LA VANGUARDIA. 14/11/2000
An excellent mark for Rocamora with his production
"Small Suicides".
|
Joan-Anton Benach.
LA VANGUARDIA. 22/11/2002
It could not be more radical. The humour and
poetic sensitivity of the duo Molnár
- Canellas turn what is miniature into a great
mansion, inhabited by healthy vibrations.
|
Javier Miranda.
DIARIO DE CADIZ. 13/12/2003
One of the most original works of the last times.
Original and surprising by its ability to do
of something so simple a work of great penetrated
conceptual.
|
Marco Vasques.
POETAS NO SINGULAR. 14/11/2010
The love, the loneliness, the abandonment, the
death and the time are the subject matters that
treats the show Small Suicides. We are really
before an emissary of the delicacy. The actor
Carles Cañellas is a courier of the delicacy.
Its show is an adaptation of the original of
Gyula Molnár, that for the experts treats
itself like the first show of Objects Theater.
The work is divided into three acts. Two declared
suicides and an announced genocide. In the first
act an effervescent tablet, brilliantly animated,
she attempts to approach a group of chocolates.
The tablet arrives even at give up its nature
and to dress the "wrapper" of the
chocolates, the differences are however evident.
In being rejected by the group of chocolates,
she commits suicide jumping herself in a glass
of water (on executing this scene Cañellas
reminds us of the best scenes with objects of
Buster Keaton and Chaplin). In the second act
the suicide occurs because of a love not concreted
between a match and a seed of coffee. When losing
to its loved, the phosphorus is consumed on
fire for not bearing the absence of its darling.
The third act is a reflection on the inexorable
step of the time that brings the uncomfortable
metaphor of our temporary nature, of our condition
of passengers in the world and of the constant
genocide plotted by the time. The manipulation
of the objects, the lighting, the music and
the performance of Carles Cañellas makes
the public drown with the tablet, burn with
the match and reflect on our condition of mere
hosts in the world. A brilliant show. A show
to be applauded with the soul.
|
Ara
- 03/01/2012
|
La
Vanguardia - 06/01/2012
|
El
Punt Avui - 19/02/2012
|
Titeresante
- 01/03/2012
|
Putxinel·li
- 02/03/2012
|
TIMING:
..... |
performance:
52'
stage set up: 1h
dismantling: 45' |
SCENIC
SPACE: ..... |
total darkness / silence / a "theatre" atmosphere
/ the audience have a comfortable view of the tilting
surface of a 80 x 60cm table / visibility also determines
the ideal number of spectators / this may range from
a minimum of seven to a maximum of hundred, if seating
is suitable, or up to 250 if there are image capture
with video camera from the back of the room and big
screen TV or video projector in front of the stage
/ minimum distance from the audience to the stage:
2m / the maximum distance from the stage of the furthest
person in the audience is the distance from which
a wooden matchstick can be distinguished from a giant
coffee bean (1,5cm), without straining the eyes (from
10 to 15m) / (minimum measurements required) width:
4m / depth: 2,5m / height: 2,5m |
LIGHTING:
..... |
an
incandescent 150-watt light bulb is used for the table
and its immediate surroundings. This is hung from
above and is screened by translucent paper. The light
has a fader switch incorporated at the table so that
the actor may operate it himself. A torch and a 60-watt
hand light, held by the actor himself, are used for
the rest of the work. When the audience enter the
theatre, there should be the minimum possible light.
This should be indirect, as the stage is half-lit
by the table light. Care should be taken to prevent
other lights from interfering with the atmosphere
created by this. No further lighting is necessary. |
CURRENT:
..... |
power
outlet on the stage / minimal potency 1kWh (220v) |
This recreation of SMALL SUICIDES
have participated in the following Festivals and theater
programmings:
EL MARIONETARI.
VALÈNCIA
5è FESTIVAL DE TEATRE DE TITELLES. SANT
LLORENÇ SAVALL
XIVè FESTIVAL INTERNACIONAL DE TEATRE VISUAL
I DE TITELLES. BARCELONA
CICLE TEATRE PETIT FORMAT. ATENEU POPULAR
DE NOU BARRIS. BARCELONA
SALA BECKETT. BARCELONA
INAUGURATION OF THE THEATER SALA TRONO.
TARRAGONA
XX FESTIVAL INTERNACIONAL "CIUDAD DE CÁDIZ".
CÁDIZ
V MUESTRA DE TÍTERES "CIUDAD DE TERUEL".
TERUEL
8a. FIRA DE TITELLAIRES ROMÀ MARTÍ.
CALDES DE MONTBUI
GUANT 3r FESTIVAL INTERNACIONAL DE TEATRE DE TITELLES
DE L’ALT CAMP. VALLS
5th ANNIVERSARY OF THE INAUGURATION OF THE THEATER SALA
TRONO. TARRAGONA
TITEREMURCIA 08. VII FESTIVAL INTERNACIONAL DE
TEATRO DE TÍTERES DE LA REGIÓN DE MURCIA.
MURCIA
XXVI FESTIVAL INTERNACIONAL "CIUDAD DE CÁDIZ".
CÁDIZ
2n CICLE DE TEATRE DE TITELLES PER A JOVES I ADULTS.
CASTELLBISBAL
FITO 2010. FESTIVAL INTERNACIONAL
DE TEATRO DE OBJETOS. BELO
HORIZONTE. BRASIL
X MUESTRA INTERNACIONAL DE TITERES PARA ADULTOS.
BERGARA
FITO 2010. FESTIVAL INTERNACIONAL DE TEATRO DE OBJETOS.
FLORIANÓPOLIS. BRASIL
FITO 2010. FESTIVAL INTERNACIONAL DE TEATRO DE OBJETOS.
BRASILIA. BRASIL
FITO 2011. FESTIVAL INTERNACIONAL DE TEATRO DE OBJETOS.
RECIFE. BRASIL
2a. SETMANA ROJA DEL TEATRE DE TITELLES.
BARCELONA
FITO 2011. FESTIVAL INTERNACIONAL DE TEATRO DE OBJETOS.
CAMPO GRANDE. BRASIL
LA SECA. ESPAI ESCÈNIC BROSSA. BARCELONA
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photo
Jesús Atienza © 2000
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