LITTLE FRANK - A STORY IN LITTLE PIECES
Gompa Project Collective presents Little Frank - A story in little pieces, winner of the SESC Scenic Arts Award. It is a play for children and teenagers inspired by the characters and situations of Mary Shelley’s literary work, Frankenstein.
The story, already a classic among different generations, functions here as a starting point for discussions about childhood, growth, loss, isolation, bullying, friendship, self-esteem, creativity, and acceptance of oneself and others.
Victor Frankenstein is a weird and lonely young man who, almost accidentally, creates someone to keep him company, defying the limits of science and his age. However, the Creature doesn't come out exactly as he wanted; after all, almost nothing comes out as we want it. Victor needs to understand that Little Frank has its own will and is quite different from what he imagined. But that is not something bad, on the contrary, it is a beautiful and fun thing. The two live great adventures together and begin to transform themselves and accept their differences.
The story is told through narration, theater, dance, visual arts, and an original soundtrack, reinventing the first literary work of science fiction. The play proposes a dialogue between science, biology, literature, and physics, instigating the children’s imagination and creativity.
AWARDS
Nominations Prêmio Olhares da Cena 2023:
Make Up
Graphic Design
Scene photography
Soundtrack
Lightning
Set design
Costume
Supporting Actress
Actrees
Actor
Production
Playwright
Director
Best play
Awards Prêmio Olhares da Cena 2023:
Playwright
Director
Actor
Lightning
FESTIVALS (Links)
Porto Alegre em Cena 2023
FESTECRI - II Festival de Teatro para Crianças 2023
Kingfestival, na Rússia
21st ASSITEJ World Congress and Performing Arts Festival 2024 em Cuba
CITIES
Porto Alegre (RS), Canoas (RS), Camaquã (RS), Jaguarão (RS), Santa Maria (RS), Carazinho (RS), Curitiba (PR), Três Lagoas (MS), Fortaleza (CE), Itajaí (SC) São José do Rio Preto (SP) Caxias do Sul (RS), Blumenau (SC), São Paulo (SP) e Havana (Cuba)
COUNTRIES
Brasil, Rússia, Cuba
TECHNICAL INFORMATION
Cast: Fabiane Severo, Liane Venturella, and Thiago Ruffoni
Directed by: Camila Bauer
Movement Direction: Carlota Albuquerque
Dramaturgy: Camila Bauer and Marco Catalão
Dramaturgical collaboration: Liane Venturella
Sound Design: Álvaro RosaCosta
Piano and Voice: Simone Rasslan
Scenography: Elcio Rossini
Props: Elcio Rossini and Liane Venturella
Lighting: Ricardo Vivian
Costume: Daniel de Lion
Makeup: Marília Ethur
Artistic Collaboration: Douglas Jung, Jéferson Rachewsky, Luana Zinn, Pedro Bertoldi, and Renan Villas
Invited Psychologist: Camila Noguez
Graphic Design: Jéssica Barbosa
Direction of Production: Fabiane Severo
Realization and Production: Projeto Gompa
Fouding: SESC Scenic Arts Award
REVIEWS
Camila Noguez - A Infamiliar Frank
What does the monster show? Mary Shelley’s work prepares the ground for something that, almost 100 years later, Freud called unheimliche the sinister, the odd, more recently translated as The Unfamiliar (1919/2019).
“I was traveling by myself in the bed wagon of a train when, in a sudden change of speed, the door for the neighboring toilet opened up and I could see an old man wearing pajamas and a traveling cap. I imagined that he had taken the wrong direction, leaving the cabinet that was between two compartments, and entered by mistake into my compartment, and I stood up to explain that to him, but I soon recognized, perplexed, that the intruder was my own image, reflected on the mirror of the communicating door.” (FREUD, 1919, p.307)
In the game of mirrors of a train wagon, Freud sighted an older gentleman, soon realizing that that stranger was, in fact, himself, it was his weird and unfamiliar image. The unfamiliar speaks of an apparition that misleads us about something that concerns us. Unfamiliar as the feeling of recognizing something by the strangeness that it provokes, something that would already have passed more amicably in the familiar sphere. But precisely this fact is withheld from us, the familiar element reappearing as if it were from the outside. Thus, when we laugh at Victor and his embarrassing clumsiness, in a way, we laugh at ourselves. In the wagon scene, it was as if Freud picked up the shattered pieces of the mirror that did not reflect his integrity and identity cohesion. And so tries Victor as well, when he puts together elements that do not equate completely; there is always some leftover, the unpredictable of a creation - which does not exempt us from the responsibility of being aware of our desire, of our creature, of seeking and continuing to create. As part of the human condition, or at least of the psychoanalytic subject, Victor lacks something, and Victor fails any promise of cohesion and resourcefulness. Maybe that's why he is so captured by everything that comes together and separates - an operation of great challenge to be carried out between him and his own creature, eager for history, for the street, for a heart that is his own. As a third party in the relationship, the street is what undoes the dyad's exclusivity and illusory completeness. The game of mirrors and its inevitable discrepancies already carry with it the condition for Frank to become unique. The street, third instance, is what will open the pathway for Frank to tell its own story to the stolen child: “hand, no, laboratory”. The creation (of a story) is what is placed between the creature and the child. Or yet, it is through the fiction around the demands, assumptions, and responses that a child can come up with, that the child can become a being of language. It is in the fictionalized misunderstanding between “no” and “hand” that Frank insists on and claims a story.
The end of the play warns: in the face of the strange, the different, and the unknown that somehow summons us, let us be kind. It is not about eliminating the enemy, it is more about taking responsibility for investigating why this enemy mobilizes us so much.
FREUD, Sigmund. (1919/2019). The Unfamiliar / Das Unheimliche, followed by O Homem da Areia. Translated by Ernani Chaves, Pedro H. Tavares e Romero Freitas. Belo Horizonte: Autêntica.
"FRANKINH@ – A story in little pieces brings together a collection of fragments of scenes full of charming visual poetry and a contemporary fable. There you find children's curiosity and inventiveness, the rebellious impetus of adolescence, the challenges and tensions of a process that is not just made of colors and joys. Growing up hurts, some say and Camila Bauer's staging is delicate and firm in bringing this condition (...) Thiago Ruffoni (Victor) and Fabiane Severo (Frankinh@) create a refined and engaging body game that features exquisite movements created by Carlota Albuquerque (...) Liane Venturella, as narrator, masterfully guides the plot and announces about the boy Victor's isolation: “Since people don't know what to do with the differences, He was often left alone.” And he also tells us that he “liked everything he didn't understand”. The story, that could the distante because of its deep existential content, embrances us. It brings not just the pieces of the creature that comes to life, but also brings the pieces from which we are made. After all, if “We can't control life”, we can't lose sight of everything that, like art, can continue to give us so much burden to live."
Izabel Cristina da Silveira - AGORA/Crítica teatral
"A theatrical show that brings the strength of its aesthetic and dramaturgical language to the narration, a genre typical of “storytelling”. A voice that presents the characters, chains the facts and events presented, moving through the past and present, the before and after, the here and now of the Scene. A correlation of events, in time and space, that outlines the story before the eyes of the spectator, in combination with acting, dance, music and illusionism effects – built through lighting, scenographic props and manipulation of objects – performed by the actors on stage. (...) Liane Venturella composes the narrative text, adapted from Shelley's story, with her voice and scenic presence, to bring to life the characters of the boy who felt very alone, who decided he wanted to be a great scientist and who, almost by accident, made a creature to be his friend. The story of a shy and alone boy played by Thiago Ruffoni and a creature, created by him, with Fabiane Severo, together with a team with known names in the arts of the national scene, such as Carlota Albuquerque, Simone Rasslan, Álvaro Rosa Costa, Elcio Rossini, Ricardo Vivan, among others who make up the technical sheet of this work. A theatrical work that creates and designs plots very well tied between dramaturgy, visuals, sounds and lighting for its scenic design, taking the spectator to very symbolic scenes such as when the “Creature” goes out into the streets, discovering a world previously hidden to her, and comes across cars, movement, noises, people and different situations. As well as the moment in which the Creature is being “assembled”, where the dexterity and technique used by the actors, in manipulating the heads, generates a game of optical illusion. The scenes are linked together in a construction with rhythm and nuances, so that the imagery appears as present and strong as the text itself, if not more so. Intriguing, with aesthetic choices that dialogue with children and adolescents, in a current and modern way, without losing the playfulness and enchantment provoked by listening to and telling a story. Frankinh@ - a story in little pieces is a work of composition of languages that permeates the body and its dramaturgies, visualities and their “illusions”. A movement to propose reflection, at different ages, on latent themes from Mary Shelley to the present day, with insight, taking into account their due proportions and layers."
TRILHA SONORA