Orpheus

Prior to the production, Christiania Teater arranged a workshop, led by Luc Amoros. He introduced new puppeteering techniques for work with two-dimensional shadow puppets, and new lighting sources. The workshop was open to professional puppeteers. Amoros is based in Strasbourg, and is the artistic director of Compagnie Luc Amoros (formerly Compagnie Amoros et Augustin).  

With this production, Christiania Teater wanted to learn about shadow puppetry from one of the most acknowledged artists and innovators of the has roots in Asian culture.

Actor and puppeteer Bo Anders Sundstedt played the role of Orpheus, in its different incarnations.

You may also have a look at the other shadow puppets registered from this production in Sceneweb. These are Eurydice, Kerberos AKA Cerberus and Charon, the ferryman. There is also a photo of the shadow puppet Hades, which can be seen if clicking the production entry.

SOURCES:

Mona Wiig's private archive

Information about the production from Christiania Teater

Donated by: Mona Wiig

Transported 11.11.2019.

Orpheus was made as a two-dimensional shadow puppet in different versions. The material was white plastic, which was both bendable and firm. The cut-out figures were sprayed with black paint. The motif, shape and size of the Orpheus cut-outs varied. Some were so large they had to be stiffened with piano string and/or thin wooden sticks.

The shadow puppet Orpheus depended on the light source, which was moved by the puppeteer during the performance. The strength of the light was also regulated by the puppeteer, who had to operate the shadow puppet and the light source at the same time during performance. This light technique was an innovation, which Luc Amoros had contributed to developing. It was to contribute to renewal of shadow theatre in Europe during the 1970es and 1980es.

The role of Orpheus was depicted through different forms of shadow puppets, and it was also interpreted through acting. Thus, the production was inderdisciplinary, combining shadow theatre and acting.

According to the myth, Orpheus' music was so beautiful that it could move both the living and the dead. Even Hades, ruling the kingdom of death, gave in when Orpheus, with the passion of love and the power of music, begged to get his beloved Eurydice back to earth. Hades made one condition: That Orpheus was not to look at Eurydice before they were back among the living. This became too much of a trial for Orpheus. On their way out of the underworld, he turned, and Eurydice had to return to the dead.

Greek literature and visual arts have found inspiration in the ancient gods and heroes. The Greek culture has made a deep impact on our share cultural heritage.

Christiania Teater collaborated with the French company Compagnie Amoros et Augustin on the production. The company was based in Strasbourg, but performed all over the world. At the time of the collaboration, Amoros and Augustin had worked with shadow puppetry for a decade, and they had found inspiration in Indonesian shadow puppetry, among other things. Compagnie Amoros et Augusin had developed its very own style and technique. According to the company, shadow theatre of today needs to find an expression suiting its time and age. The artists are convinced that shadow theatre is an independent, creative form of theatre.

SOURCE:

Information about the production from Christiania Teater, June 1990