We explained the entire work process and always mixed artistic and sustainability data in order to create a simple and most effective dialectic possible, especially with children
We saw a lot of attention among the children who were under ten years old here; which makes us understand that the attention was very high.
To achieve this attention we used contrasting theatrical actions, capable of generating attention and a variety of convergences on the theme, passing through technical aspects, distant cultures, comparisons between theater and sport, a montage of contrasting actions that bring great interest; technical aspects, single and couple scenes inspired by Shakespearean theater and Italian opera which aroused keen interest.
We used the English language with simultaneous translation into German for the presentation of the various work sections.
The concepts of the relationship between art and sustainability were expressed clearly but not slavishly.
Ecological considerations
The process has followed the line of sustainability throughout.
The research, filming, editing, staging have taken into account in various ways this relationship of human activity, including that of a theater group with the environment.
Except for the projection, the demonstration of work can be done in open spaces, without lights, without a stage and with second-hand costumes.
For our work we were attentive to the sustainability aspect, as we always do with the Rigodon theater, often completely reducing CO2 emissions through daytime shows. Here we used second-hand costumes, reduced the lights to a minimum and used the projectors present in the structure.
In a performance, the emission of carbon dioxide depends on the structure in which the work is carried out, on how this workplace was reached by the operators and the public. Being able to work in open spaces, perhaps protected, but in full light, during the day, in places easily reachable on foot allows this type of activity to be carried out without carbon dioxide emissions.
