ARS Koncert | Novinky

The Marriage / Ženitba

1000 objects – 5000 memories
PLAYING WITH MEMORY AND RECOGNITION

Bricolage: To make creative and resourceful use of whatever materials are to hand “
(Claude Levi-Strauss)

“… my thoughts dwell upon objects or events of an almost everyday simplicity familiar to everyone…they may be so simple as to pass almost un- noticed but may still contain a deep meaning... “
Bohuslav Martinu

The visual creation of this production of Bohuslav Martinu’s The Marriage set out with
six clear aims:–
To interrogate the meaning of chamber opera by presenting it in a chamber so that it becomes an art form in its own right, and not just a smaller opera done on a large stage.
To animate and regenerate a space through performance
To create an interactive art installation that the public could walk through and imagine the world of the characters who live there, even when there is not a performance.
To cross the borderlines between Fine Art and Performance and attract new audiences who may not normally go to Opera, in the spirit of the original 1953 NBC Television production under the title “Opera for the Millions“
To avoid spending huge amounts of money on constructions that end up being thrown away
To find the visual equivalent of Martinu’s score that contains quotes and references to remembered musical phrases that illustrate the context in which the characters exist.

From the beginning of this project, I tried to imagine what it was that attracted Martinu to Gogol when he received the commission in 1952 to write a 1 hour opera for television. The one obvious connection between the two artists was that they were both enforced émigrés – wanderers from their own country, always taking with them a few special objects to remind them of home – the roots of their personality. A Clock – a photograph, a picture, a mirror, a wooden carved box all carried a great significance for Martinu as he moved from place to place, dislocating and relocating, mirroring Gogol’s own peripatetic existence 100 years earlier. The Marriage creates by the use of small seemingly unconnected vignettes the world of Russian émigrés living in New York as if they were in ‘the old country‘ They have nothing. They are unemployed and unemployable. We, the spectators ,see them as Gogol, the first dramatic realist, portrayed them- a group of nobodies living off each other in order to exist. But they are wonderfully optimistic. They do not bemoan their fate. They are resourceful. If they do not have a door knocker, they use an old coat hanger. An old ladder with wooden planks across becomes a splendid display cabinet for all the small memorabilia from their former life. A watering can, thrown out by someone more affluent serves as a shower head for bathing,
A pile of suitcases, never properly unpacked – just in case of moving on again – becomes both a room divider and storage and shelves, and an ironing board upside down make an excellent clothes cupboard. So a composition of objects, carefully selected like sounds on a musical scale, in pinks and reds for one house, and blues and greys for the other create the world of these Gogolian characters. Every object has a meaning much more than the original object itself, and evokes recognition and memories in the spectator’s minds. The refrigerator that is never on, but is useful to keep the china in, is an iconic image that many people joyfully recognise from their grandparent’s past. Composing the visual picture becomes the equivalent of composing the music. Both exist in space, and when selected by the creator tell a clear story that needs little verbal explanation to spectators who enjoy entering the world of 1000 objects , their resonances and memories.

Pamela Howard: Director/Scenographer The Marriage

The Marriage – Characters:

Podkolyosin: Jakub Tolaš
Stepan, Podkolyosin’s servant: Mojmír Starý
Agafya: Tereza Merklová
Fyokla Ivanovna, The Marriage Broker: Jitka Zerhauová
Arina, Agafya’s aunt: Adriana Hlavsová
Kochkaryov, Podkolyosin’s friend: Petr Levíček
Anuchkin, Agafya’s suitor: Tomáš Krejčiřík
Zhevakin, Agafya’s suitor: Zoltán Korda
Ivan, Agafya’s suitor: Ladislav Mlejnek
Dunyashka, Agafya’s servant: Zlatoslava Beňová

TECHNICAL SPECIFICATIONS FOR TOUR

This version is part a gallery installation of 1000 objects that could optionally be open to viewers during the day,
and a performance that takes place within the installation space in the evening.
It also can simply be an evening performance with the audience viewing the installation at the end.
It is composed of a series of old odd pieces of furniture put together the vignettes...
There is no conventional scenery.
See www.pamelahoward.co.uk/director/martinu for image of layout.

17 Musicians plus a Conductor
who is also required to minimally “perform“
The musicians can be recruited locally for each venue with the Conductor,
or, The Czech conductor can travel with the singers.

10 Performers:
8 singers in English plus 2 spoken ‘ acting ‘ parts
See www.pamelahoward.co.uk/director/martinu for Gallery of Characters

Lighting Design:
Each‘ vignette‘ is lit separately. Minimal lighting cues.
Lighting equipment and lighting technician to be supplied by host venue.

Director/Scenographer /Project Creator:
Pamela Howard (GB): pamela@pamelahoward.co.uk

Assistant Director: To be included with Czech Artists.

A Company Manager/Stage Manager: To be included with Czech Artists

Wardrobe maintenance: Czech wardrobe assistant plus 1 local maintenance person.

Rehearsal pianist / performance pianist: Included in 17 musicians above

Loan of objects:
The objects in the vignettes are the property of The National Theatre Brno.
They must be re-packed as delivered, checked off the packing list

Playing Spaces:
The Opera plays in one large open space or chamber minimum 20metres X 11m .
Can be a converted factory, warehouse, industrial space, concert salon, or similar.
Needs to have some facilities to hang lights.
One more or less central entrance through the spectators needed for singers.
This can be the same as the public entrance. If possible a separate entrance for orchestra is desirable.

Seating:
Standard Platforms (normally built on 2 m x 1m steeldeck or similar with + 20 cms risers) to be provided by host venue.
200 assorted old chairs complete the installation.
If possible ( to avoid excessive transport costs ) these should be provided by the host venue.
The seating is not numbered. It is part of the visual installation and represents the immigrants reception waiting area on Ellis Island USA in 1907.
The larger the space, and the higher the platforms can be built, the more seats can be fitted in, but 300 is the maximum.

The Exhibition:
The Art work for The Marriage has been on exhibition at the National Museum of Music Prague “Le Phenomene Martinů“.
The exhibition and production photographs are the property and copyright of Pamela Howard, and need a space approximately 5m x 3m.
The exhibition must be sent and returned by courier to Pamela Howard in Great Britain, and separate insurance cover taken by the host venue,
unless other arrangements are agreed in advance.
Contact: Pamela@pamelahoward.co.uk

Sponsorship:
Carnegie Mellon University for the development of The Marriage at the Regina Miller Gouger Gallery
of Contemporary Art Pittsburgh 2006

Graphics:
All Graphics and printed material must be passed to the co-producers and the creator
of the project for approval prior to printing.
Rocc: Rocc@ndbrno.cz Zdenka Kachlová: kachlova@artskoncert.cz
Pamela Howard: pamela@pamelahoward.co.uk

Rights:
The rights are held by Boosey and Hawkes Emma.Kerr@boosey.com

LIGHTS

4x Par 64 short, Cp61
9x Spot, 1 kW
4x Profile, 800 W or 600 W
4x pin spot par 36
7x Strand Bambino 500 W
4x Clay Paky, Alpha spot HPE, 575 W
1x dimmed AC power socket (Schuko type) for Weding cake
2x dimmed AC power socket (Schuko type) for lights in Window box
1x dimmed AC power socket (Schuko type) for lamp
2x data projector for subtitles, with VGA input ( resolution 1024 x 768, min.
7000 ANSI , according to luminary room conditions and screen surface),
or LED Headliner for captions
2x telescopic towerlift up to 6,5 m height
2x tripod for light bar up to 3 m height
10 metres aluminium truss
32 channel DMX standard controled dimmer (48 channel better)
1x lighting console (we bring our console)

AUDITORIUM

Elevation constructed from rostrums, capacity up to 200 theatre-goers.
8x rostrum at height 20 cm
8x rostrum at height 40 cm
8x rostrum at height 60 cm
7x rostrum at height 80 cm
4x rostrum at height 100 cm
2x rostrum at height 120 cm
2x rostrum at height 140 cm

GENERAL TOURING INFORMATION

A) Number of visiting participants: 38 – 39 pax

17 musicians
1 conductor
10 soloists (8 singers + 2 spoken roles)
1 stage director
1 ass. stage director or interpreter
1 stage manager
1 group manager
6–7 technicians
(1–2 lighting technicians, 1 props, 1 stage manager, 1 costume-lady, 1 wig-lady, custodian)
Local help:
10 pax (3 lighting technicians, 7 stage loaders or uploaders and stage set up)

B) Schedule:

Day 1:
• travel cast + technicians

Day 2:
• unload container (NB Parking required for container)
• stage set up – app. 3 hours
• lighting – app. 3 hours
   (lighting can be done only after the whole stage is completly set up)
• rehearsal – stage rehearsal, sound check – 1–2 hours
• performance
  In case local orchesta is used schedule is as follows:

Day 2:
• morning – soloists + piano rehearsal
• afternoon – orchestra rehearsal

Day 3:
• performance

Visiting company deliveres complete stage set,musical instruments (except of piano), conductor podium, costumes.
Total cubic space of the stage set excluding the instruments: 22 m3
Total cubic space of the stage set including the instruments: 29 m3
Packing lists are part of delivery.

C) Conditions:

The host venue / festival / promoter covers:
1) return flight tickets / tourist class for all participants
2) transport to the place of departure
3) visa and passport expenses
4) local transport in the place of the host from the arrival untill departure
5) freight charges – stage set and instrument transport
6) per diems for all participants (all days incl, travel ones)
7) hotel accomodation breakfast incl.
8) author rights and music material rental costs
9) Producers fee NET / 1 performance in total of ................. EUR
Fee covers the fee of the visiting company incl. conductor and stage director.

The host venue / festival / promoter supplies on its own costs:
1) agreed venue equiped with the lights (lighting requirements as per attachement No. 1)
(lighting mix panel is provided by the visiting company, weight 10 kg brought by the lighting technician)
2) chairs + platforms (app. 200 – 300 psc – as per technical drawings and pictures s required – attachement No. 2)
3) piano (need not to be the grand one)
4) subtitles equipment
5) technical support – local help: 10 pax, 3 lighting technicians, 7 stage loaders or uploaders or stage set up

PRESS

The Brilliant Marriage in America
The dramaturgical and artistic highlight of the ( Moravian Autumn ) Festival was the performance of the opera By Bohuslav Martinu…
The opera was played in the untraditional venue of the Mozart Sal in Brno’s Reduta, the border between the audience and the actors was nearly eliminated….
singers were flowing in and out through space in the middle of the audience, the chamber orchestra situated on the left…..
A strong emphasis was put on Gogol’s realism and the comicality of each scene….
The audience was thrilled with The Marriage, and I have to say that is reasonable…
Boris Klepal Opus Musicum 5/10/2009 translation Blanka Šaffková

….the production had no dead parts ; everything worked unaffected , the audience could not notice change from singing to speaking.
The soloists from the National Theatre Brno were singing very well, but also because they were good actors with spontaneous humour..
the production was well done also because of the good job of Jakub Klecker ( conductor ) and orchestra
Alena Borková translation Blanka Šaffková

Two outstanding evenings in fifteen average ones
…The program of the festival .. had a few highlights and two real tops. The main highlight was the premiere of The Marriage – Gogol’s comedy opera written by Martinu.
The Opera of the National Theatre Brno prepared a first-rate acted drollery in the festive hall of the Reduta under the director Pamela Howard.
You could see how the singers… who were brilliantly playing and singing are close to the chamber conception of opera.
For opera in a smaller form it was a very special event….
Jan Spacek MF DNES 23/10/09 translation Blanka Šaffková

The National Theater stage ‘ Marriage ‘ by Bohuslav Martinu
Mozart Sal Reduta Theater was the scene of several performances of the comic opera The Marriage..
The project aroused an extraordinary response… Creator of the chamber production of 1 hour is director and scenographer Pamela Howard..
who gave an exceptional opportunity for a number of soloists to show they can be real singing actors.
The hilarious and ridiculous figures together with the irresistible scenery, props and costumes created a true ‘ concert ‘
...Conductor Jakub Klecker led the performance with confidence and grace.
The area without a stage gave the opportunity and benefits of the closeness of actors and audience so that the audience were entertained with a flow of small jokes in accordance with the plot…
Petr Veber Czech Radio 08/10.09

A Highlight was the performance of Zenitba, with Martinu’s wonderful music splendidly played and sung,
against the background of an ingenious and very elaborate set which made the most of the elongated space available….
Mrs Marian Werner : The Dvorak Society of Great Britain 21/10/09

Pamela Howard came with a unique scene solution – she situated the opera into the community of Russia emigrees.
When I first heard that I was a little bit afraid - but she did not describe the Russians (as I saw it many time before) like stupid dull people from the communist regime
... her staging is witty, colourful and great!!
...You can find on the stage old bottles, sweaty armchairs, an old ladder, very old American fridge with dirty china inside... the repertoire of these props is really endless ....
...I gained the best feeling / impression from this performance...
The actors move in this mustiness, messy world with an excellent parody and overstatement. They are really comic and create their parts in the most superb way
... It´s big success !!--- if you want to spend a really nice and enjoyable evening – Reduta is there for you..
Vladimír Čech
From the broadcast review by Vladimir Cech of the Marriage Bohuslav Martinu:
National Theater Brno. Radio Channel “Vltava”, October 10, 2009, morning programme MOZAIKA

Martinů revue 3 / 2009 / Patrick Lambert

Martinů revue 3 / 2009 / Scott Englund