eng emma darwin teatro del silencio 08 2009

8/14/2019 ENG Emma DARWIN Teatro Del Silencio 08 2009

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Emma DarwinTeatro del Silencio


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Cration 2009A French Chilean coproduction


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Contents

- 2009 : bicentenary of the birth of Charles Darwin and 150thanniversary of the publication of On the Origin of Species

- Emma Darwin : a mirror look

-Mauricio Celedon's letter of intent

Artistic director of Teatro del Silencio

- The question of God

- Museum of the end of the world

-A work of "naturalist" of gesture and wordA search on the actor-puppetA work on the image and video projections

- About the scenic space:Tower of Babel of our evolution

-The Team of creation

- Partners and co-producersProjected calendar of creation

- Summary of the history of the Company


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2009 : Bicentenary of the birth of Charles Darwinand 150th anniversary of the publication ofOn the Origin of Species

On the occasion of the celebration of the bicentenaryof the birth of Charles Darwin and the 150thanniversary of the publication of On the Origin ofSpecies, in 2009, Teatro del Silencio will lead a journeyof research and creation across the work and the life ofDarwin.

Scholar and man of science, inexhaustible thinker, hisdiscoveries have profoundly changed science,philosophy, religion, and man in his nature andcontinue to question them even today.

World-famous, Darwin remains a mystery for the greatmajority of the public. A man whose importance isknown by everybody but whose work finally isrelatively unknown. A "stranger", confined in his

thoughts and reflections.

Well speak about the man, well question the currentworld and the world of tomorrow - as in our works onArthur Rimbaud (Malasangre or the 1001 nights of thepoet) and on Antonin Artaud (Nanaqui - Dossier 262602 ) - with our own means of researchers and

creators: poetry, words, music, pantomime, theaterand dance


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Emma Darwin : a mirror look

Out of this need to dig, to question ourselves, this firstproposition was born.To speak about Darwin through Emma, his faithfulpartner and "counsellor", across a double mirror look.

Emma will be the feminine voice, which, with herdoubts, reflections, memories, and flashbacks, willlead our work of writing.

The one who, through her look, will sketch our ownlook. The one who, through her monologue and her

own contradictions, will guide our reflections andquestions on Darwin.


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Mauricio Celedon's letter of intentArtistic director of Teatro del Silencio

Why Darwin ?Maybe we had to wait 200 years to be able to get tangled with languages which are notours.So much time was necessary to understand a genius.But can we imagine the world without Darwin ? Without the deep marks he left ?

We chose to continue our theatrical research on this character who shines nowadaysand who can enlighten us all.

Charles and Emma Darwin. We are going to go through their biographies, their lives,to hand them once more in the theatrical lucidity.Theatre is mans fantasy, thats why we speak about a soul so dear as the one ofCharles Darwin and we wish to create this magnificent story by ways as only theatrecan make it.

We question ourselves on our existence and our evolution.We still remain an occult poem. It is why I like to make theatre.

She speaks to us about him.He speaks to us about her.She speaks to us about her journey aboard The Beagle in Patagonia, in Brazil, inEcuador, in Argentina, in Chile, in Tierra del Fuego.He speaks to us about Down, about this infinite suffering of the death of his daughter:

Annie.

She speaks to us about his doubts about the existence of God, about this sick man.

Disguise of memories : she carries his memory. And he carries the memory of thePatagonia, the Amazonia. Then, pure greenery, end of street of the sun, Tierra delFuego, exuberance of unfathomable forests like this world we do not know.She will then become that wild victorian, that woman who is transformed and carries

words that come from a long way away, from a deep earth, from the Pacific, to the

compass of a music that moves our souls.


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Emma Darwin and Charles Darwin

In 1839, Darwin married his cousin, Emma Wedgwood,settled with her first in London and then to Down, one

hour from London, where he bought a property.

In the silence and the greenery, he led a regular andquiet life, which left him the time of the reflection, tocontemplate the nature, to visit its greenhouses andhis fields of experiences.

In this peaceful living environment, interrupted onlyby his problems of health and his insomnias, heelaborated, with an infinite patience, one of the mostconsiderable works which is due to a natural scientist.

Emma and Charles Darwin share their life with mutualrespect and love.

Emma is a religious woman, with strong religiousconvictions


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The question of God

Charles DARWIN following, on this matter, the son ofits thoughts and reflections tells in its autobiography ::

During these two years, I was led to think muchabout religion. Whilst on board the Beagle I was quiteorthodox, and I remember being heartily laughed at byseveral of the officers (though themselves orthodox)for quoting the Bible as an unanswerable authority onsome point of morality. ()But I had gradually come, by this time, to see that the

Old Testament from its manifestly false history of theworld, with the Tower of Babel, the rainbow as a sign() was no more to be trusted than the sacred booksof the Hindoos, or the beliefs of any barbarian. ()

Thus disbelief crept over me at a very slow rate, butwas at last complete. The rate was so slow that I felt nodistress, and have never since doubted even for asingle second that my conclusion was correct.

In : "The Life and Letters"of Charles Darwin


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Despite her deep religious divergences whichsometimes make her feel anxious, Emma, loving

woman, understands her husband; she writes him,very little time after their marriage, a frank letter thatDarwin carefully kept all his life :

The state of mind that I wish to preserve with respectto you, is to feel that while you are actingconscientiously and sincerely wishing and trying tolearn the truth, you cannot be wrong, but there aresome reasons that force themselves upon me, and

prevent myself from being always able to give myself

this comfort. I daresay you have often thought of thembefore, but I will write down what has been in my head,knowing that my own dearest will indulge me.Your mind and time are full of the most interestingsubjects and thoughts of the most absorbing kind, viz.

following up your own discoveriesbut which make itvery difficult for you to avoid casting out as

interruptions other sorts of thoughts which have norelation to what you are pursuing, or to be able to give

your whole attention to both sides of the question.There is another reason which would have a great effecton a woman, but I don't know whether it wd. so muchon a man. I mean whose understanding you have such avery high opinion of and whom you have so much

affection for, having gone before youis it not likely tohave made it easier to you and to have taken off some ofthat dread fear which the feeling of doubting first givesand which I do not think an unreasonable orsuperstitious feeling. It seems to me also that the line of

your pursuits may have led you to view chiefly thedifficulties on one side, and that you have not had time

to consider and study the chain of difficulties on theother, but I believe you do not consider your opinion asformed.


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May not the habit in scientific pursuits of believingnothing till it is proved, influence your mind too muchin other things which cannot be proved in the same way,and which if true are likely to be above our

comprehension. I should say also there is a danger ingiving up revelation which does not exist on the otherside, that is the fear of ingratitude in casting off whathas been done for your benefit as well as for that of allthe world and which ought to make you still morecareful, perhaps even fearful lest you should not havetaken all the pains you could to judge truly. I do not

know whether this is arguing as if one side were trueand the other false, which I meant to avoid, but I thinknot. I do not quite agree with you in what you once saidthat luckily there were no doubts as to how one ought toact. I think prayer is an instance to the contrary, in onecase it is a positive duty and perhaps not in the other.But I daresay you meant in actions which concern

others and then I agree with you almost if not quite. I donot wish for any answer to all thisit is a satisfactionto me to write it, and when I talk to you about it Icannot say exactly what I wish to say, and I know youwill have patience with your own dear wife. Don't thinkthat it is not my affair and that it does not much signifyto me. Everything that concerns you concerns me and I

should be most unhappy if I thought we did not belongto each other for ever. I am rather afraid my own dear Nigger will think I have forgotten my promise not tobother him, but I am sure he loves me, and I cannot tellhim how happy he makes me and how dearly I love himand thank him for all his affection which makes thehappiness of my life more and more every day.

"Letter of Emma Darwin to Charles Darwin"in Vol.II de John Murray, 1915


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Museum of the end of the world

These poor wretches were stunted in their growth,their hideous faces bedaubed with white paint, theirskins filthy and greasy, their hair entangled, their voicesdiscordant, their gestures violent and without dignity.Viewing such men, one can hardly make oneself believe

they are fellow-creatures, and inhabitants of the sameworld. It is a common subject of conjecture whatpleasure in life some of the less gifted animals can enjoy:how much more reasonably the same question may beasked with respect to these barbarians.

In Voyages of the Adventure and Beagle"by Charles Darwin

Vol. III. / Chapter XI


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The gap that separated Darwin of this " miserablestunted race " will be filled by the corpses of the

Indians.

In less than a century, people, cultures, a thousand years old languages will have been annihilated bythe arrival of the hunters of seals or whales, gold-diggers, missionaries, industrialists

On the traces of Darwin, we shall go backwards inthe course of time, to try to understand this odysseyof the species and of our evolution.

A crossing which will lead us towards the Patagonia,in search of these recently disappeared peoples :

Yaman and Selk' nam.


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A work of "naturalist" of gesture and wordA search on the actor-puppet

A work on the image and video projections

Since its foundation, in 1989, Teatro del Silenciopursues its researches of a total theater, a theater

which realizes the fusion of performing arts, with thedetermination to create a theatrical language that isaccessible to all, allied to a reflection about our time.

The creation of Emma Darwin which will be in thecontinuity of this search will be the occasion tointroduce new researches on :

the actor puppet,

as well as a work on the image and video projections.


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About the scenic spaceTower of Babel of our evolution

Although its conceived as a fixed stagewith the public in front,Emma Darwin's scenic space will reflectthis universe of evolution,transformation, mutation.

Trans-mutant towersof two metres by three metres,five metres height,are put into different configurations,evolve in the space.They are protagonists of the story.

Ropes, pulleys, counterweightsto hoist and unfurl the sailsto put in movement, suspend,bring up and manipulate the actors

"Cabins", "ships holds" as chrysalises,metamorphoses rooms,from where the actors appear and disappear.

Tower of Babel of our evolution,botanical greenhouse,gallery of human zoology,tree of life, Tierra del Fuego,paths leading to the sky,observatory of our memories,

museum of the end of the world.


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The Team of creation

Emma Darwin will be the fruit of different artisticcollaborations.

Temporary distribution

Artistic Direction: Mauricio CELEDON.Choreographies : Lhacen HAMED BEN BELLA andMauricio CELEDON. Musical Composition andDirection : Carlos FIERRO, Pablo QUEZADA.

Scenography : Marcelo PIZARRO. Costumes creation :Claudia VERDEJO. Lighting Creation : ChristopheSCHAEFFER assisted by David BOUTTENOT. Actors :Claire JOINET, Julie JOURDES, Claudia VERDEJO, LhacenHAMED BEN BELLA, Nelson ESTIBILL, LuisHORMAZABAL. Musicians : Jean-Michel RAUSSOU,Favio VILLARROEL. Sound Technician : Francisco

ARAYA. Lighting Technician : David BOUTTENOT orChristophe SCHAEFFER. Graphics : Gala MARTINOYA


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Partners and co-producers

The partners and the co-producers of the project, in the current day

CO-PRODUCERSLES ATELIERS FRAPPAZ in Villeurbanne - Centre mtropolitain des Arts dela Rue

CO-PRODUCERS RESIDENCE OF CREATION :LES ATELIERS FRAPPAZ in Villeurbanne - Centre mtropolitain des Arts dela Rue

REGARD ET MOUVEMENTS - LHostellerie de lAnce in PontempeyratLE FOURNEAU - Centre National des Arts de la Rue en Bretagne in BrestLE PARAPLUIE - Centre International de Cration Artistique, de Rechercheet Rayonnement pour le Thtre de Rue in AurillacLE MOULIN FONDU - Centre National des Arts de la Rue in Noisy-le- Sec.IN PROGRESSResidence in KOMPLEXKAPHARNAM in Villeurbanne.

SUPPORTEmma DARWIN will be realized with the support of the french Ministry ofCulture and Communication DRAC AUVERGNE and DMDTS - Aide larsidence de production. 2009 Arts de la rue.

Those whom we shall seek the support in 2010

CO-PRODUCERS RESIDENCE OF CREATION :Rsidence cin KOMPLEXKAPHARNAM in VilleurbanneFestival SANTIAGO A MIL in Santiago de Chile.

SUPPORTGOBIERNO DE CHILE : Conseil Nacional de la Cultura y de las Artes -CNCA : Ayuda al los proyectos culturales FONDART

GOBIERNO DE CHILE : DIRAC : Programa de ayuda a los Proyectos yActividades Culturales en el Extranjero.


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Projected calendar of creation

APRIL 2009From April 20th till May 02nd, 2009REGARD ET MOUVEMENTS / lHostellerie de lAnce in Pontempeyrat

JUNE 2009From 20 till 30 June 2009LE MOULIN FONDU in Noisy-le- Sec

OCTOBER 2009From 05 till 25 October 2009LES ATELIERS FRAPPAZ in Villeurbanne

APRIL 2010In April, 2010 / 2 weeksLE FOURNEAU in Brest

MAY 2010In May, 2010 / 3 weeks

LE PARAPLUIE in Aurillac

In progressIn October / November, 2009 even in 2010Residence "EnCourS" chez KOMPLEXKAPHARNM in Villeurbanne


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SUMMARY OF THE HISTORY OF THE COMPANY


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In February, 2004, Teatro del Silencio inaugurates the new Theater of Aurillac with "Amloii o como lo dijo Hamlet" and creates in thisoccasion, with comedians stemming from companies of amateur theater of Aurillac: "Le Case Bchner". A creation inspired by"Woyzeck" and other Georg Bchner's works

In autumn 2004, Teatro del Silencio in cooperation with the Theater of Aurillac, proposes a new "Carte Blanche", a multidisciplinaryprogramming including a presentation of works on Pablo Neruda: "Pablo, Pablo", the programming of several spectacles, anexhibition of painting and drawing and a free training course opened to the professionals and the amateurs of the alive spectacle.

In 2005, Teatro del Silencio in association with Karlik Danza Teatro (Spain) creates the second part of the triptych on Dante: "ODivina la commedia - Purgatorio - A Mother and her children in the Purgatory ". Inspired by two texts: "The Dante's Purgatory" and"Mother Courage and her children" of Brecht, the Purgatory will be presented from 2005 till 2007, in France, in Belgium, in Denmark, in Spain,

in Ireland, in Brazil, in Chile, in Colombia, in Korea.

In 2007, Teatro del Silencio finishes the creation of its triptych "O Divina la Commedia" with: "Fragments de Paradis" and "Paraso",two creations between street theater and inside theater which were born in spring and summer of 2007 and will be presented till 2009,in France, in Poland, in Germany and in Chile.

At the same time as it realizes its creation, during all these years, Teatro del Silencio gives, supervised by Mauricio Celedon,numerous theatrical training courses - Pantomime, gesture theater, theater and emotion, theater and circus, theater of the gestureand the texts - organized for students (school, theater classes) for amateurs and for professionals.


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The creations of Teatro del Silencio

1989 : GARGANTUA

1990 : TRANSFUSION

1991 : OCHO HORAS

1991 : MALASANGRE OU LES 1001 NUITS DU POTE

1993 : TACA TACA, MON AMOUR

1995 : CANDIDES - Pour la compagnie franaise du Cirque Baroque 1996 : LA LOCOMOTIVE, pice de Andr Gintzburger - 1996

1997 : NANAQUI DOSSIER N 262 602 LHOMME QUI SE DIT POTE

1998 : MEDEA en collaboration avec la Cie espagnole Aran Dramtica

1999 : DOBERMAN, Textes de Jean Yves Picq, pour la Cie clermontoise Athra 1999 - ALICE UNDERGROUND

1999 : PALABRA DE ANGEL pour la Cie espagnole Karlik Danza

2002 : AMLOII O COMO LO DIJO HAMLET pour les Cies espagnoles Karlik Danza et Samarkanda Teatro

2002 : AGRIPINE, en collaboration avec la Cie espagnole Aran Dramtica 2003 : O DIVINA LA COMMEDIA - INFERNO

2004 : LE CAS BCHNER, avec des Cies de thtre amateur aurillacoises

2005 : O DIVINA LA COMMEDIA UNE MRE ET SES ENFANTS AU PURGATOIRE en collaboration

et coproduction avec Karlik Danza 2007 : O DIVINA LA COMMEDIA PARASO


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CONTACT

Teatro del Silencio

[email protected]

(+ 33) (0) 1 48 51 06 77(+ 33) (0) 6 11 89 27 35

THE TEATRO DEL SILENCIO IS SUBSIDIZED BY:THE FRENCH MINISTRY OF CULTURE AND COMMUNICATION - DIRECTION RGIONALE DES AFFAIRES CULTURELLES DAUVERGNE / DRAC AUVERGNE

eng emma darwin teatro del silencio 08 2009

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