{"id":7554,"date":"2024-04-03T20:07:10","date_gmt":"2024-04-03T18:07:10","guid":{"rendered":"https:\/\/www.shakespearefestival.online\/?post_type=tribe_events&p=7554"},"modified":"2024-05-07T15:54:53","modified_gmt":"2024-05-07T12:54:53","slug":"proiectul-furtuna-regia-peter-brook-marie-helene-estienne-franta","status":"publish","type":"tribe_events","link":"https:\/\/www.archive.shakespearefestival.online\/en\/eveniment\/proiectul-furtuna-regia-peter-brook-marie-helene-estienne-franta\/","title":{"rendered":"THE STORM PROJECT \u2013 DIRECTED BY PETER BROOK & MARIE-HELENE ESTIENNE \u2013 FRANCE"},"content":{"rendered":"
\n\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Project Storm<\/h1>\n

<\/p>\n

Play resulting from a research of The Tempest by William Shakespeare<\/p>\n

<\/p>\n

Traduc\u0103tori: Peter Brook \u0219i  Marie-H\u00e9l\u00e8ne Estienne<\/p>\n

<\/p>\n

Company name<\/b>: Th\u00e9\u00e2tre des Bouffes du Nord<\/p>\n

<\/p>\n

Company country<\/b>: France<\/p>\n

<\/p>\n

DIRECTOR<\/b>: Peter Brook and Marie-H\u00e9l\u00e8ne Estienne<\/p>\n

<\/p>\n

Distribution<\/b>:<\/p>\n

<\/p>\n

Sylvain Levitte \u2013 Ferdinand, Caliban<\/p>\n

Paula Luna - Miranda <\/p>\n

Fabio Maniglio \u2013 Trinculo <\/p>\n

Luca Maniglio \u2013 Stefano<\/p>\n

Marta Tzaczuk – Ariel<\/p>\n

Ery Nzaramba \u2013 Prospero<\/p>\n

<\/p>\n

The creative team<\/b>:<\/p>\n

<\/p>\n

Adaptation and direction: Peter Brook and Marie-H\u00e9l\u00e8ne Estienne <\/p>\n

Lights: Philippe Vialatte<\/p>\n

Songs: Haru\u00e9 Momoyama<\/p>\n

<\/p>\n

Show synopsis<\/b>:<\/p>\n

"The Storm" is an enigma. There is one word that reverberates throughout the song - "Free". Typical of Shakespeare's plays, the meaning of the words is not fixed, but always suggested as in a resonance chamber. Caliban wants his freedom. Ariel wants freedom, but it's not the same freedom. Prospero, deep in his books, in search of the occult, is a prisoner of his own dreams. We might think that on the island he became free because he had accumulated all the magical powers that man can acquire. But a magician only plays with powers that do not belong to humanity. It is not given to man to darken the noonday sun, nor to raise the dead. Revenge is consuming him from within, and he has yet to master his own nature, his own storm.<\/p>\n

However, he manages to open up and realizes that he cannot get freedom alone, that he can no longer stay on the island, that he must give back to Caliban what is rightfully his, that he must give Ariel his freedom back, to forgive his brother, to let his beloved daughter, Miranda, break away from him and marry his nephew, Ferdinand, and after all this to ask for his own freedom - but to whom? Nine, everyone.<\/p>\n

Company description<\/b>:<\/p>\n

As a legendary venue whose walls have witnessed exceptional events, the Theater des Bouffes du Nord has hosted artists from all over the world since its inception. Built in 1876, it reopened in 1974 under the management of Peter Brook and Micheline Rozan. In 2010, Olivier Mantei and Olivier Poubelle took over the management of the theater and continue its tradition as a creative space.<\/p>\n

The theater produces a good part of its performances. Thus he manages to add four new shows per season to his repertoire. New projects are supported by the theater from the beginning and throughout the creative process by new companies and renowned artists. In addition to the Parisian shows, more than 250 performances are held annually around the world.<\/p>\n

Director biography<\/b>:<\/p>\n

Peter Brook<\/b> directed a number of shows at the Royal Shakespeare Company before establishing his own theater center in Paris (1974). With his arrival, the Theater Bouffes du Nord became the Center International de Cr\u00e9ations Th\u00e9\u00e2trales (CICT). His innovative approach consists of openness to all forms and styles of theatre. To build a repertoire, he recruited his band from around the world. Here, he directed numerous plays, including recently The Costume (2012), The Valley of Astonishment (2014), Battlefield (2015), The Prisoner (2018), Why? (2019), Zile fericite (2021), as well as his latest play, Proiectul Furtuna (2021) \u2013 mostly performed in English and French.<\/p>\n

Marie-H\u00e9l\u00e8ne Estienne<\/b> joined CICT in 1977. Worked as an assistant on numerous projects with Peter Brook. He was a co-author of the songs L'homme qui<\/i> and I am a phenomenon<\/i> performed at the Th\u00e9\u00e2tre des Bouffes du Nord. He wrote the French adaptation of Can Temba's play, <\/p>\n

The Costumes<\/i>, and Sizwe Banzi is dead<\/i> by Athol Fugard, John Kani and Winston Ntshona. In 2003 he wrote the English and French adaptations of the text The Grand Inquisitor<\/i> (The Grand Inquisitor) based on the novel The Brothers Karamazov by Dostoevsky. With Peter Brook, he co-directed Fragments, The Magic Flute, The Suit, The Valley of Astonishment, Battlefield, The Prisoner, Why?, Happy days and The Storm Project.<\/p>\n

Show duration<\/b>: 1h 20 minutes (without break)Special mentions show<\/b>: For audiences over 14 years old<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t