The main theatrical "chip" of this, the fifth in the account, the festival - the performances are not easy for small, but specifically for those from 8 months to three years. Yes, yes, you are not mistaken - exactly 8 months. The theater program for the baby, born in Bologna, in the theater in "La Barakka - Teston Ragatzi" called "small size". It was financially supported by the European Union, and the festival "Gavrosh", as the most advanced in the children's question, immediately exported a unique experience in Moscow. Children, and most importantly, their parents, looking at the performances of the "Games of the Kalder engineer" and "Onn-off," were convinced that the theater was not contraindicated to young children, but was registered in certain doses. The secret of the production of theatrical "drug" is perfectly owning in the "La Barack - Testoni Ragazzi" theater.
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The program "Little Size" is already about seven years. In the repertoire of this large theater only performances for children and adolescents. And work on productions for the smallest is highlighted in a special direction: in the troupe there are even actors who play only for kids, and directors who are doing only for them. Moreover, the creators of performances take into account the peculiarities of the perception of children up to a year, one year old, two-year and so on. So even the baby has the full right to become theater viewer, if there is a repertoire specifically intended for him in the poster. The "Little Size" program employs twelve partner theaters from Austria, Belgium, Finland, France, Germany, Ireland, Italy, Romania, Spain, Slovenia, England, Hungary. Each introduces a lot of experience in the piggy bank, invests in a common cause, which is best dealing.
Full Andrea Buczetti works only with the smallest. He came up with a funny presentation of "ONN-OFF" with electric light bulbs, who had a deafening success among the public "Gavrosha".
- Andrea, how to play in the performances of "small size"?
"When I was injected into my very first play, immediately offered to forget about everything that I know and I know how the artist." For small viewers, it is impossible to "play", but you need to try to become very curious and look at the world by their eyes, from the height of their growth.
A child whom a year or two absorbs the impression as a sponge, and already a lot understands. If you are not a scene, he will not believe you. And many believe that you can pass the child, showing him exaggerated emotions, facial expressions, gestures, exclamations. But in fact, it is much more intriguing the opportunity to follow your gaze.
- What is the difference between the perception of a one-year and three-year viewer? Is she?
- A three-year-old child can watch you and continue to listen to you, even if you move in space. And the child who is just a year can not be "released." Moving and telling, you must pay attention to it all the time, know and feel: Where is he? Play as it were for each of these babies - and only at the same time they become a real "visitor team"!
- And acting failures happen?
- When I played my first performance for children, I stepped quite close to the audience and said loudly: "Good day!" ... There were thirty-five them, and twenty nine wept! I'm very high, and I have curly thick hair - all this for a small child is just scary, honest. And I also got shaking my feet. But then then I realized that the main thing is to go to the kids very quietly and calmly inform them that I can tell some story. If, of course, they want to listen to me. I tried to do so - and the children agreed to listen, and respected me for a whole thirty five minutes!
Of course, it happened on the stage to make mistakes: once a vase with water dropped at the very beginning of the performance, another time - the light bulb broke. And all the time went on tiptoe.
But the most serious failure happened once in Germany, where I played the play "Color of Water". There, several viewers who were late for the beginning, came, put their children on the stage and began to photograph them. Right during action. I even thought: "Probably, this is because I am a bad artist and it's time to think about another work." And then I realized that this time the parents simply violated the rules that in the theater exist for the audience. Each of them is confident that his child is the best, so the parents are not very important. Much more important - show all your best baby. This desire is quite understandable, but if it manifests itself in the theater, then it's just dangerous!
- Do you think little viewers are best familiar with theatrical rules than adults?
- Nobody told them that such a theater, performance, actor, scene, public. They still do not know that they are the audience. But they already have an instinct of perception of art. At the same time, they are absolutely free! In a small hall, where there are no theatrical chairs, they can sit back to you. They laugh if they want. If you want to cry - pay. If it becomes not interesting - they can leave. I am happy that my experience allows me to achieve that they do not leave.
- And you never wanted to become a "real" artist of the "real" big theater to play for "real" adult spectators?
- Since I learned to see the world from the height of children's growth, I do not care on adults. Playing for a clean viewer, who does not yet know what the "Theater" is, it is impossible not to feel that before you - the real public that perceives you perfectly and gives you a lot.
I know that theatrical art is very much respected in Russia. And therefore in your country they believe that small children are not yet the audience, they can only become them then. In itself, such an opinion is quite normal, but I assure you: it is not. We work for many years for kids and are not going to give up this pleasure.