Who composed the fairy tale Bremen town musicians. "The Bremen Town Musicians": who wrote this tale? Video: Bremen town musicians - Bremen town musicians

Livio Valentin Livio Valenti, Sinzia Coracesi, Lorenzo Bacini, Andrea Vitali and Roberta Sotsky, dolls by Roberta Sotsky, dolls by Pinuccio Bocchi, music by Lorenzo Bacini, Camillo Gazzaniga. In a house of fairy tales where stories intersect and mingle, Pinocchio and Red Cappuccietto decide to play new game: The world's most famous doll in the world is wearing a red coat and cap and will enter her friend's fairy tale by becoming the main character.

Drama and direction by Simone Martini, scenes and costumes by Eva Sgru, design by Marco Santambrogio, original music by Humberto Foddis, animated illustrations by Andrea Rauch, with Luca Avagliano and Enrica Peccioli. The project is set as a path where pictorial, multimedia and sonic habitats inhabit actors that contribute to the creation of three stories taken from the work of the Brothers Grimm: the musicians of Bremen, Biancaneve and La Luna. The show is based on the resurrection of these three stories, and on the assumption that it involves the use of various languages ​​such as masks, shadows, theater actors, video projections, and real scenographic installations.

The show begins with the story of the musicians of Bremen, at the end of which the voice of the narrator, accompanied by a sound environment, introduces the story of White White, who appears behind the illuminated back panels. At the end of the second frame, the play of lights and sounds will take the viewer to a third habitat made from video projections and landscapes, where animated graphics, accompanied by a narrative voice, will bring the fairy tale of La Fiesta to life. The fourth and fifth habitats are again dedicated to the story of Snow White and are the House of the Seven Dwarfs and Snow White's Tomb, where actors impersonating various characters will guide viewers to the end of the journey and the story.

The Brothers Grimm are more than simple game for children or families, and this is the result of intensive research work dedicated to the concept of experience. The project has a very intensive relationship with modern fairy tale and extracts from this and from the work of some of his most important Italian exhibitors a part of the narrated imagination, which is then developed by modern theatrical devices in the form of descriptive illustration. This feature makes the viewer immediately descend on different languages but, nevertheless, precluding the possibility of adding with the help of one's own imagination, small bits of connection, deliberately left suspended and indefinite.

Piero Cerici, freely written by Cervantes, with Piero Cerici, Filippo Mugnai, Andrea Rosellitti, screenwriter Piero Cerici and Filippo Mugnai, project of the Permanent Laboratory of the Social Theatre. Rip your character apart on paper pages to catapult him into new worlds, new dimensions, new frames. The Wonderful Adventures of the Chevalier Don Quixote of La Mancha and His Trusted Squire Sancho Panza. And that scene turns into Pooh, an empty space that becomes a crazy space of poetry where the wind is spoken of and dreams are preserved, doors open for wandering knights and travel stories.

Books, stories and stories have Don Quixote "cursed". The show is a tribute to the imagination and applause for poetry and brings young viewers in touch with the value of stories and fairy tales. On the stage we met the author and his characters; Reality is shaped and transformed by multiple objects, music and an often surreal language of actions and words that make theater a place of adventure: they communicate what they don't see and say they create it. Don Quixote, a knight with not too many possessions, needs Sancio Panza to live and touch his adventures.

Sancio Panza backs his lord with the promise of becoming the island's governor, the first to know inconsistency, but it gives him the power to imagine, create and hope for a different world for himself and his family. Illustrations and photographs by Nicoletta Costa with Chiara Bittti and Anna Chiara Castellano Visions, puppets, puppets, backgrounds by Manuel Trimboli, adapted and directed by Paolo Compental.

The puppets and scenes reproduce settings and characters drawn by him. The show alternates magical and fantastic atmospheres with scenes of pure pleasure and, through storytelling, touches on topics of great symbolic value such as the fear of rejection and loneliness. Emotions that will appeal to the protagonists of the story in a beautiful case of knowledge and growth: two children will actually find the courage to face great difficulties. The tale highlights some childhood fears even if they are eaten; but the finale of the liberator is due to defeating the most dangerous enemy: the evil witch.

The show alternates between large animated puppets made with unique colors, soft and colorful figures, puppets. Genre combines features and functions classic fairy tale and puppet jokes that arise from unexpected and funny situations. Homer said Blue lives in an old attic full of items, books, memories, recorders, memories. Blue is isolated from the world and doesn't remember very well who she is or what she has done in her life. Time is spent occupied with daily habits. A magical event appears in his attic to Athena, the goddess of Ulysses, who invites him to tell a story: the Odyssey.

The show goes through the whole story of the Odyssey. With Amina Kovacevic, Uberto Kovacevic, Silvia Martini, live performances by Ettore d'Andrea imitating animation by Uberto Kovacevic. Drawing lights by Maurizio Giornelli. Assistant director of Ilaria Skripnregion Amina Kovacevic. The atmosphere is underscored by the memoirs of Ettore D'Andrei, illustrator and set designer. Because in order to remember, you need to know. Survived in the camp, a friend of Giovanni Paolo Vtoro, a healed Padre Pio, Wanda Pöllawska, born at 21 in Lublin, during the German occupation was arrested by the Gestapo and locked up in the Ravensbrück concentration camp, where he and other young Poles were subjected as a guinea pig to inhuman medical experiments.

The memories are black on white to keep them out of the public eye, but to overcome the trauma of this attack, inhuman experience. Memories are terrible, but desperate. Upon returning from the camp, Wanda Poltavskaya was exhausted and devastated. He was terribly guilty that he was alive and his companions did not survive. He was looking for an answer to the question: "What is a person?" He wanted to understand how humanity could create such horror. He studied medicine and psychology. He became a psychiatrist to study the human psyche. But medicine was not enough, psychiatry didn't even have philosophy.

He met Andrzej Poltavk, also a doctor, who got married. At that time, Karol Wojtyla was a college chaplain and organized prayer and meditation groups. Wanda was struck by her way of teaching humanitarian and religious ideals, but above all by her angry and clerical demeanor. Together they talked for hours of faith, God, but also practical life. From then until the end of his life, until last day, Wanda Poltavska was Karol Wojtyla's mother, sister, friend. And it is very difficult to recreate the reluctance of a peasant and a simple woman without the risk of misunderstanding.

Dr. Poltavska, a member of the Pro Vita Pontifical Academy, has been known throughout the world for decades as the founder of the Institute of the Family and a constant advocate for life. Today we will find out where the roots of these inspirations and beliefs were, and where the doctor took strength. Four generations of instrument makers followed, each contributing to the development of instruments for extremely dynamic small formations as well as for band members: woods and brass were the first items produced, but also violins and mandolins.

The focus is on music composed in the ghetto years by Ilse Weber and the story of Terezin's unique experience. They alternate, unite and merge, read and music. Through some numbers, you will be able to question the meaning of truth and how to seek it when everything around it is crumbling. Even when life is in great danger. Word and music create a little time in a growing dialogue, between emotions and smiles.

The orchestra consists of 15 international musicians that come from the experience of the Arezzo multi-ethnic orchestra. On-demand shows can be held in schools in the respective premises. Text and director Livio Valenti, with Livio Valenti, scenography and puppetry by Leonardo Lepri, original music and songs by Marco Canadchini, lights by Camillo Gazzaniga.

The dark elephant was beating up to plentiful. This is a simple and exciting work of tolerance, acceptance of their shortcomings and friendship. This is the story of an elephant who had a little lousy and smelly problem. As long as she was small, she was fine and her puzzle was well tolerated, but when she got tall, she became a big problem: they were lionesses, licked hippos and strangled monkeys and chimpanzees. The elephant, saddened by all the trouble he had unintentionally gathered, decided to move to the city.

And with Piero Cerici, Livio Valenti, Lorenzo Bacini. From travel, from displacement as a universal necessity, to the "hope" of travel for those who move because of war, famine, persecution and the desire for better economic conditions. What is the map of Lampedusa? The boat was carrying hundreds of migrants and its sinking caused almost 400 deaths. Following these tragic events, many Italian and European associations began to unite and think along a common path to develop a project dedicated to "a new political, territorial and existential geography".

Amina Kovacevic with Amina Kovacevic, Uberto Kovacevic, Stefania Pace, Ilaria violin. Two little girls become heroines to save a country far from condemning life without a smile. The ban on dancing, singing and playing the evil king has changed the life of the kingdom, where he now operates apathetically, without harmony. Show aimed at children primary school, which includes a small audience in the first place, forcing them to actively participate in the history of the story. Through the use of recovery tricks, accessories and musical instruments children are called to play some roles along with the actors.