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La Pendue - Tria Fata

TRIA FATA

Eclectic puppets and music

For all ages (from children over 11)
Techniques String, table and glove puppets, shadows
Live music clarinet, base clarinet, accordion, drum set, voice
Creation spring 2015

With Estelle Charlier and Martin Kaspar Läuchli
Project managed by Estelle Charlier
Direction Romuald Collinet
Directing collaboration Pavlina Vimmrova
Music Martin Kaspar Läuchli
Text and artistic look Romaric Sangars
Light and technical manager Anthony Lopez
Puppets and scenography Estelle Charlier and Romuald Collinet
Technicians Anthony Lopez or Andi Luchsinger

Production Théâtre de l’Homme Ridicule
Soutien: Conseil Général de l'Isère, SPEDIDAM, Ville de Winterthur Suisse, Théâtre du Temple de Saillans.
La BatYsse et l’Espace Culturel La Buire à L’Horme, les Ateliers de Couture de la Ville de Grenoble.

TEASER :

 

 

TRIA FATA

She is a puppeteer, he is a musician. Life and death are playing in their cabaret. The
big imaginary machinery they are activating together strangely looks like the one which
presides over our destinies: this weaving loom that the Ancients believed it belongs to
the three Parcae - Tria Fata - where the threads of our lives are weaving, uncoiling and
breaking.

It is in this way that an old woman is facing Death. Her time has come as soon as the
show begins. To set the date for payment as late as possible, that one suggests to this
one to deploy the panorama of her life in fast motion. In this way, the audience member
is led to consider all the metamorphosis of a life exposed before his eyes, in a dynamic,
exuberant, unusual and hallucinatory form. From birth to death, from childhood to love:
game, high-wire, images, fire - a large kaleidoscope is swirling before the extinction,
moving from one threshold to the other, in the shine of unlikely figures.

All the emotions and seasons are offered at the mercy of a Russian dolls dramaturgy,
where the old woman’s acting falls in with the one of the actors, itself resulting from the
Parcae’s one, in such a way that the puppet is then presented - depending on the more
striking relief - as a universal symbol of humanity.

 

 

NONA (Origins)

Initially, the puppeteers of La Pendue were looking to find again the original strength of
their art into the ancient tradition of Polichinelle. They tackled the job for three years,
from the street, out of the festivals, in a mere castelet, before they managed to wake up
this great myth with two creations: Le Remède de Polichinelle (childlike version) and Poli
Dégaine
(crazy version for adult audience). Within seven years, they have been invited
to present these two versions close to eight hundred times, in France and around 30
countries, for more than 120 000 spectators. Through this original form, dynamic, popular
and exigent, they learned the arcane secrets of a difficult and often unexpected art
with unmatchable wealth.

In parallel, Estelle Charlier and Romuald Collinet were mulling over new tracks, looking
to create a catharsis phenomenon as powerful and unanimous as the one fomented by
their show Poli Dégaine, but on a very different note. This time they chose to play on the
poetic and emotional efficiency of images, dramaturgy and music, from a very modern
perspective which does not spare any spectator. In collaboration with the musician
Martin Kaspar Läuchli, the dramatist and director Pavlina Vimmrova and the writer
Romaric Sangars, they gave birth, this spring 2015, to the show: Tria Fata.

 

 

DECIMA (Developments)

Tria Fata is the result of long researches in puppetry, La Pendue Company having explored
the ambivalent relationship the puppet can develop with its creators-handlers, the
strong symbolism it is able to emerge immediately, as its “weightlessness point” between
inanimate and living things. This show, magic and technical, poetic and burlesque, aims,
among other goals, to break down all the prejudices which clutter up the surprising
liberty of the puppet.

This liberty is giving free reins to its imagination within the musical atmosphere developed
by Martin Kaspar Läuchli in response to Estelle Charlier’s acting. And if the first is
a one-man band alternating the instruments, (clarinet, bass clarinet, accordion, drums,
voice), the second one is a woman orchestrating the most diverse forms, handling at
sight, playing, wearing different masks – both of them doubling their own multiplicity,
with the intention of delivering a true oneiric vertigo where puppets, humans and great
archetypes are mutating and inverting for the greatest resonance of mystery.

 

 

MORTA (It is at the end that everything begins…)

If death remains the privileged interlocutor of the heroin of Tria Fata, the perspective is
however, more than macabre, fundamentally burlesque. Moreover, the last Fate is representing
here the final threshold to be passed within a narration and a scenography which
are first insisting on the human adventure as a succession of metamorphosis.

Each of these metamorphosis, each of these stages, is giving rise to a special game,
whether one is talking about cutting one’s stomach with an electric knife to give birth,
hanging at the end of one’s string like a brass ring, indulging in the acrobatics which
engages a first passion, or seeing the old age coming like a whirl of slides.

In this way, we can perceive, as a watermark, the Three Fates myth, Nona, Decima, Morta;
the one who gives birth, the one who lets live and the one who kills, which parts are
surreptitiously shouldered by the puppeteer unfolding the life of a midwife under Death’s
impatient eye.