LastBuster Keaton’s

Wvery loosely based on « Buster Keaton Takes a Walk » by Federico Garcia Lorca

alk

A project born from the meeting of two passions

BUSter KeatonCharacter, visual and gesture genius, an inspiration for the diverse techniques our company employs.

FEDErico Garcia LorcaPoet, playwright, musician, influential since the very beginning of our work.

When the lights of life start fading away, what else is left ?

Our production raises this question and answers through the burlesque, dance, music, acrobatics and puppetry.

The narrative of Federico Garcia Lorca interests us because it is enigmatic, surreal, and it addresses the theme of old age in unexpected ways, far from the beaten path when it comes to talking about the END.

Decline of a life, and of a society.BUSter Keaton kills his four children with a wooden knife, then takes his bike and goes for a ride. And so we discover a landscape called America.America and its modernity, its force and its contradictions, its dreams and its disillusions.

To create this performance we mixed together FEDErico Garcia Lorca’s play and Buster Keaton’s biography. The situations and places encountered by Keaton reveal a man’s life and the surrounding society.

BUSter Keaton is 70 years old, he is smoking his last cigarette. The smoke cloud is the screen on which his memory projects the movie of his childhood.He sees himself by his father, on the stage of Bill Doecktader Wodenland cabaret. He dreams. In this last dream he walks across centuries. His bike as his only companion, turning on the wheels of time,

it goes on and on and on ...

It is an imaginary life, a walk through America, in the modern world.

It is a journey between present and past, through far away places and among unique individuals, brought together by memory and love.

If man comes from apes, he can alsorise above it.BUSter Keaton

We draw from each adventure, each place, each country and each scene we visit. Our work is meant to be adaptable; we think and work in an itinerant way.

Every one of our performances is being reflected upon and ripens for a long time. At the beginning it is an almost intuitive exploration, from reading to image, from ambiance to music. It is a discovery, nurtured by sensations, emotions and desires. There is a progression, a constant coming and

going between the scene and the workshop, between the body

exploration in the given space and the creation of a story, a framework. Often times it

involves re-writing, evolution of the props manufacturing,

musical adaptation.

For our company a performance is the fruit of building, adapting, repeating. It is a mysterious and unexpected process, within which everyone (authors, actors, musicians and plastic artists) meets in order to take the same voyage. It is magic that brings them together, in a whirl where talents and ideas mingle and mix up.

Gestural and visual theatre builds on and through movement. At the beginning there is desire, which opens the way for us. Then there is intuition which guides us to choose certain aesthetics in order to tell a story. We look for leads, we cross reference sources, and, though the work on stage, with actors and objects -inseparable partners - a script emerges and slowly imposes itself.

For this performance’ script we mix miscellaneous and historical facts, fiction and reality, on one hand through the work of the filmmaker, one the other through his biography, which unveils a life and an era that rises and falls into decline.

From a formal point of view the cinematic image is at the heart of our present work. It is linked to an aesthetic choice, never dissociated from an intrinsic drive present at the origin of every project we undertake.

A purely physical comedian, “Buster” means potentially harmful spills or falling accidents. “The man who never laughs” founded his art on a principle : to provoke laughter. He was guided by an impeccable mastery of rhythm and by the astonishing display of phenomenal physical abilities.

A purely gestural and musical performance.

dire

ction

not

esFEDErico Garcia Lorca

BUSter Keaton

The scene is transformed continuously. In the foreground an aging BUSter Keaton, struggling with his physical limitations. He tries to cut his toenails, he coughs. He plays cards.

The scene is divided by a transparent screen that makes the distinction between the space of the present and the past, where BUSter Keaton’s imagination rules.

He listens to the radio and a miscellaneous piece of news transports him towards another level of reality. Fiction takes hold of him and he starts living in a conscious dream.

Music is an indispensable factor to amplify emotion. We favour it in a direct manner, based on the interaction between the actors and the musicians. A tribute to the silent films: a piano on the stage turned into a mini-puppet theatre where different stories develop. Musical tribute to an era

rocked by the music hall, the blues and other melodious universes.

BUSter Keaton takes a ride

on his bicycle. Transportation means, but mostly a vehicle for the imagination and central element of creation that constantly changes its utility: clock, globe, world, planet, circle, cycle. It turns on and on and on…

aerial acrobatics and puppets mix with dance and are a part of what is called « movement scripting ». It is a technique which allows us to develop conditions and emotions and to create a non-realistic but transposed gestural theatre.To the physical world of the performer we add the gestures of a multiple character, in which all mimic points towards the burlesque and the unusual.

the marionettes.re inhabited by the actors’ bodies. This allows us to be inside the puppet, while at the same time being the other character – the puppeteer.The work surrounding the actor’s body is essential in our artistic endeavour.

BUSter Keaton, the acrobat- marionette, appears on the stage, metamorphoses, disappears and merges with objects either excessively big or small. We reveal the body of BUSter Keaton by using humanlike and smaller size marionettes, all displaying a very realistic look.

I want to be buried with a rosary in one pocket and a deck of cards in the other, in order to be prepared for both eternal possibilities.BUSter Keaton

By adding up individual career paths, both rich and varied, mixing

different artistic disciplines enriched through experiences,

numerous meetings and adventures, Les Trois Clés theatre

company was born. A group of hybrid artists, creators, acrobats,

dancers, puppeteers searching for a balance between the

questioning of today’s world and the effervescence of new artistic

forms.

Les Trois Clés theatre company develops

a stage research focused on gesture and image, reinventing a

universal, sensitive and immediate theatre language. Its wordless

performances - at the crossroad between circus, marionettes,

dance and music - deal with humanistic contemporary themes.

Closely connected to each show’s topic are the cultural and social

events the company creates and attends, thus meeting different

audiences and cultures.

The company was created in 2004 by Eros P Galvão and Alejandro

Flores, from Brazil and Chile respectively, dancers and actors

who have been living in France since 1990. They explore a stage

art resembling “work in progress”, with both a pedagogical and

creative aim, always involving new places and new cultures.

The group has been touring since 2006 in France, New Caledonia,

Europe and South America.

For the performance La Gigantea, the company works with

Arad Puppet Theatre through the participation of the actors-

puppeteers Lenuta and Sorin Dorobantu, and by creating the

marionettes made in the workshops of the Romanian theatre.

Silencio is the first performance of the company, on tour since

2006.

La Gigantea, mixing theatre, dance, circus and marionettes was

commissioned for the Festival Equinoxe in New Caledonia.

the c

ompa

ny

pres

s

On Silencio“Oh, yes, Silencio is a performance that will surprise you. It is a visual poem, mixing

circus elements, acrobatics, aerial play…The universe it creates is magical. On

leaving the performance hall with tears in the eyes, one has to ask oneself if all that

was real. A more than original adaptation, Silencio is a superb homage to the work of

Garcia Lorca.” - Avignon Mag

"Silencio is a permanent technical exploit that fades when faced with sense, poetry,

emotion. Happy Lorca. Happy those who will be able to say “I saw it” !" - L’Hebdo Vaucluse

On La Gigantea“This performance reflects on two internationally sensitive subjects : the division of

water resources and child soldiers. Every gesture is choreographed, be it in the air or

on the ground. The result is a gentle and poetic performance.” - Rue du Théâtre

“A gigantic success for the marionettes. A true masterpiece.” - La Provence

“... human marionettes in a straggeringly beautiful scenography that will take our

breath away.” - Cassandre /Horschamp

“the magic of theatre bedazzled the public.” - Le Dauphiné Libéré

We invite you to watch or re-watch our performances, under our new marquee or in a performance hall. We will be happy to meet you

4 artists choreographs1 musician1 costumer1 marionettes constructor2 technicians (sound and light)

artis

tic te

am

Alejandro FloresActor, acrobate - ChileanFounder of Les Trois Clés theatre company

Theatrical background La Casa, Santiago de Chile and at Université Paris VIII, France. Master in theatre studies and aerial acrobatics with Armonce Brown, Bruno Krief and Jean Palacy.

Director and actor of the Les Trois Clés theatre company from 2006 onwards. Directed and performed in Silencio and La Gigantea (on tour in France and internationally).

Actor and acrobatFounding member of Teatro del Silencio (1989/95) with Mauricio Celedon : Transfusion, Ocho horas, Malasangre, Taca-taca mon amour and Nanaqui. Worked with : Cie Tout fou tout Fly (2001) in Illusion and Des ailes à nos souliers ; Cirque Baroque (2002/2006) in Ningen and Troie ; Cie le Sablier (2004) in Fellini Circus and Ubu Circus ; Cie Les Chevaliers de l’aventure (2003) in Mélodie en Cheval Majeur and Equilibre ; Cirque Romanès in Le mariage gitan ; cie de danse Gilles Baron in Pollici (Italy)...

Artistic adviser and circus professor at Ecole des arts de la Piste à Boulogne, Billancourt.

He gives circus workshops in France and abroad.

artis

tic te

am

Eros P GalvãoDirector, puppeteer, aerial acrobat – Brazilian Founder of Les Trois Clés theatre company

Education• Ecole Supérieure des arts de la Marionnette in Charleville - Mézières• BA in theatre studies at the Sorbonne Nouvelle University, Paris III• Ecole de Mime Corporelle Dramatique, Paris, with Corinne Soum and Steven Wasson• Aerial acrobatics with Gérard Fasoli, Frédérique Bidet and Jean Palacy• Dance and piano studies at the Music and Dance Conservatory Brasilia, Brazil.

Dance workshops with Philippe Découflé, Peter Goos and Shiro DaimonBalinese dance workshop at ARTA, Paris.Comedia dell’arte workshop at Comedic Actor School, Reggio Emilia, Italy.

Director and actor of the Les Trois Clés theatre company: Silencio and La Gigantea, tours in France and abroad and of Auments theatre company (Spain): Las tres llaves, tours in Spain and Brazil.

Circus-theatre-danceLe Préau-Centre Dramatique Régional de Vire (2001) in Sans Famille, l’autre voyage; Cie Le Sablier (2004) in Fellini Circus and Ubu Circus; Cie Cirkea (2004) in L’Enfant des Lucioles; Le Footsbarn Théâtre in L’homme qui rit; Cirque Baroque in Troie, Frankenstein and Ningen; Cirque Romanès in Le Mariage Gitan; Cie Les Cavaliers de l'Aventure in Equilibre and Mélodie en Cheval Majeur.

Acrobatics professor and gestural theatre in France and abroad (Fratellini Academy and Circus School, Bologna).

artis

tic te

am

Sigfrido RiveraMarionettes constructor, puppeteer –Chilean

After a degree in scenography and dramatic acting at the Santiago de Chile University, he collaborates with different Paris-based recognized professionals such as Alain Recoing for the manipulation of marionettes and with Erhard Stiefel for mask sculpture at Théâtre du Soleil. He creates masks for Alfredo Arias, Tim Robbins, Théâtre Zingaro, Georges Bigot, Catherine Germain, Stuart Seide, François Cervantès and others.He also collaborates with Huracan-Opéra Bleu company, a cultural association of the Ministry of Justice dealing with the social insertion of young people. He continues this work internationally with the Graines de Soleil company, where he works for projects related to the development of Northern and sub-Saharan Africa. He joins Les Trois Clés theatre company in 2008, as marionettes constructor, creating the props and masks for the La Gigantea performance.

artis

tic te

am

Production calendar• May - June 2011 Looking for production partners and sponsors in Brazil

•July 2011 Festival Avignon OFF, looking for production partners and sponsors

•April-May 2012Arad Puppet Theatre (Romania), production/rehearsals

Technical elements•Stage dimensions and requirements 8m x 8m scene (minimum) 5m height (minimum)

With the possibility to safely secure the props necessary for the aerial acrobatics

On tour•Artistic team: 4 actor-puppeteers, 2 technicians and 1 communication and touring manager

•Performance hall or circus tent

•Suitable for all ages

Financial conditions•4 800€ excluding tax

•Transport costs reimbursement

•Lodging and meals for 7 people

•Full technical rider available upon request prod

uctio

n an

d tec

hnica

l deta

ils

...au croisement du cirque,de la danse, de la musique et des arts plastiques, nous sommes hybrides ...

compagnie

les t rois clés...au croisement du cirque,de la danse, de la musique et des arts plastiques, nous sommes hybrides ...

compagnie

les t rois clés

compagnie

les t rois clés

compagnie

les t rois clés

compagnie

les t rois clés

...au croisement du cirque,de la danse, de la musique et des arts plastiques, nous sommes hybrides ...

compagnie

les t rois clés

compagnie

les t rois clés

57, rue Henri Barbusse / 93260 Les Lilas+33 (0)1 48 46 07 69 / +33 (0)6 64 13 20 64

www.lestroiscles.com / info@lestroiscles.com

Translation : Monica Zarna