MARCO VASQUES – CAIXA DE PONTO JORNAL BRASILEIRO DE TEATRO

“Little Red Riding Hood escapes all these stereotypes and makes the necessary con-frontation to treat the childlike look with respect and intelligence. The direction, the performances, the costumes, the minimal scenario (...) are organized with such mas-tery to compose the fairy and terrible universe proposed by the performance. (...) Little Red Riding Hood is a work that fills us with aesthetic beauty and bites us with its critical vocation. It is necessary and imperious, in these disastrous, dark and ominous times, the construction of artistic events in this greatness.

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NORA PRADO – ENTREATOS DIVULGA

“On stage, actresses and actors dance while the story is narrated. The show appropri-ates a choreographic logic to develop body images associated with the characters. This intersection between the body arts and the visual arts enhances the scenic experience and creates in the viewer an expectation about the image to come later, especially knowing that the narrative told is already known to the majority of the audience. It is necessary to emphasize the respect with which the group deals with the reception of this public. The sensitivity of dealing with scenes of fear (…) all without underesti-mating the abilities sensory and cognitive effects of this audience.”

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DIB CARNEIRO NETO - PECINHA É A VOVOZINHA

“The impressive staging by the south Brazilian Camila Bauer is almost a show-instal-lation, because of the choice to keep a hollow metal structure on the scene, which the actors choreographically move from side to side in plastic harmony with the intentions of the dramaturgy, beyond the big screen in the background it shows all the time ab-stract images that are very consistent with the rhythm of the fable. [...] I also tip my hat for the excellent casting direction. The director has never neglected the voice and body of her actors - and how this has become rare…”

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KIL ABREU - TEATROJORNAL

“The group from Porto Alegre made this material a night fable, with a beautiful plas-tic and sonorous appeal and with enough opening to not render the scene to dead ends. (...) The impact is the result of what actors create in the verb and what light and sound underline. The show is unusually dark for a scene designed for children and this is good news. Light, set design and soundtrack are articulated in the play as if to place us within a dreamlike landscape in which the senses are not fully given: one has to go back to see what lies between the chiaroscuro.”

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KIKA FREITAS - O CAFE

“Children's plays do not usually cater to all audiences and tastes, even by the way they tend to be clear and specific to meet children. Contrary to this idea, the play of the Gompa Theater Company brought a retelling of the tale capable of surprising all ages - Really! [...] The adopted language manages to contemplate the public in a non-inva-sive way, where the examples given meet the perception of each one, without imposing an adult to feel infantilized, or a child to approach thematic early. Better than that, it sets precedents for little ones to better understand a more artistic language and to grow culturally. Bravo!”
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JOSÉ HENRIQUE ALVES - CRÍTICA E DIÁLOGO JH

“Gompa Project brilliantly stars in one of the early versions of the Little Red Riding Hood tale. Creating a performance that permeates various layers of the story, while still having the courage to bring a version closer to the original to the public eye. With this, stirring the imagination of the public and still exploring sensations that are marked in the memory of all.”
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WHAT DO PSYCHOLOGISTS SAY ABOUT THE PLAY? 

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“We give to the children our most sincere vows of purity and protection. From our adult perspective, we reserve to the childhood our idyllic ideals of what life once could become. That is why this play has the potential to move adults regarding their own sensations (being those confusing, secret, childish, juvenile or adult ones). These sensations can be easily projected on thechildren, as if they could feel the weight and intensity the adult feels while watching the play - within all their path, experiences, moral, shame, repression, desires, intellect, etc. The Little Red Riding Hood’s allegory provides possible resources to access fears, braveries and anchorages. Resources that serve even for us, children who have already grown up. It constitutes itself, therefore, as a starting point, according to the spectator openness and condition. The environment built by the fantasy and by the story is the environment of the possible, of what can become. Each individual (more than the section between child and adult) access the reading layer that they can.” 

Camila Noguez, psychologist. 

“According to the author, we often overprotect children in an attempt of preventing them of having to deal with their anguishes and intrinsic fears which are a fundamental part of their growth, feelings such as abandonment and separation, sexuality and unfamiliarity. It is essential that we create protected places where the children can symbolically exteriorize and heal their fears. That isone of the main functions of fairy tales and fables.” 

Bodh Sahaj, psychologist 

“In a society afraid of feeling fear, we do not have many pedagogical spaces to explore encouraging exits for this impasse we created ourselves. The play offers us exactly that in the best possible way: the theater as a space to experience, together with our children, those spaces. And by that we can build with them the ecessary affective understandings to live life with the right amount of protection, instead of constantly taking shelter from it.” 

Pedro Lunaris - psychologist

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