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Liste des passages
| Intitulé |
Description |
Durée |
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 Overview of the Théâtre du Shabano |
 Overview of Valentina Arce and the Théâtre du Shabano Founded in 2003.
Despite her Peruvian origins, Valentina Arce discovered texts on the oral tradition in Paris, France. Upon discovering the tales and their mythical meanings, she decided to adapt them to childrens’ theater. Choosing just one was difficult, but she finally decided to adapt a tale from the Andes called "The Young man and the Star."
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 00:03:48 |
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 Work on Increasing Awareness of South American Culture |
 The transmission and adaptation aspect is essential for children to gain a cultural understanding of South America. The goal is to give children the tools for understanding and recognizing the sounds and colors of that culture. Above and beyond the story line lies a mythical aspect that is of great interest. |
 00:02:51 |
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 Choosing a Tale for Theatrical Adaptation |
 How does one choose a tale that is befitting for a young audience? Why does one tale touch a reader more than another ? Perhaps the answer lies in character identification. Readers may recognize themselves in specific characters. How can a tale speak to a European child who generally does not possess the cultural knowledge for understanding a tale? The main theme resides in the sublimation of pain. How can pain be defeated so that its sufferer grows stronger? But the end of the story, beyond the pain caused by losing a loved one, points to the strength that each may draw from others in a non individualist collective society. This tale is an excerpt from an ana by Cesar Itier. Later on, Valentina Arce found other variations, one of which is “Thousand and One Nights.†|
 00:06:37 |
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 Adaptation of a Peruvian Tale Based on Andean culture. |
 The Andean culture dominates Lima, Peru. This is what allowed me to understand this universe. Of course, one has to make a choice concerning music, costumes, and decors. We sought not merely to create an adapted work that is ethnologically correct. On the contrary, one has to imagine one’s own Andes using one’s own sensitivity and one’s own perception of that location. That is how the story will live. We are a small company in terms of actors and techniques, and this tight-knit structure allows us to make adaptations rather quickly and improve our work with each performance. |
 00:06:26 |
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 Preparing for a Performance |
 It took three months to create the play as it stands now. We also took three months to prep and prepare before beginning work and rehearsals. The dialogue and script come together as the play is rehearsed. I have the overarching narrative in mind and the actors are encouraged to improvise, thereby participating in writing the play. When writing a script based on oral tradition tales, we do not write in advance. Instead, we work on the spur of the moment, which is quite common in South America. In theater, we call this letting the actor find his own dramatic art. We create and we write through improvisation. We play with lines. That way the story exists in the present. |
 00:05:50 |
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 Adaptation of a Mapuchean tale |
 The upcoming performance is still linked to the world of tales. The story talks about the world of volcanoes in the Mapuche tribe. The tale, through its heroin named Wayra, explores the creation of volcanoes and the possibilities of resistance. Wayra is the symbol of the Mapuche people who resisted the Incas, Spanish, and then dictators. It was important to me to pass on the following message: How can one triumph without using violence by relying on originality, intelligence, and novel strategies. |
 00:02:36 |
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Transmitting the Quechua Tales
