From the production From Orpheus and Eurydice (1990), Christiania Teater
Eurydice was a shadow puppet in Christiania Teater's production Orpheus and Eurydice. The text was written by Anne Thomte, inspired by the Greek myth of the lyre player Orpheus, and developed by the ensemble. The shadow puppets in the production was inspired by Greek urn paintings, and they were designed and made by the French performing artist and visual artist Luc Amoros, who also did the stage design. The production was directed and choreographed by Mona Wiig and Inger Buresund. Michele Augustin and Luc Amoros instructed the performers in shadow play. Hans Rønningen composed and performed the music. Christiania Teater collaborated with The Norwegian Touring Theatre and Compagnie Amoros et Augustin in the production. Orpheus and Eurydice had its world premiere June 9, 1990, in Black Box Teater's venue Lille Scene.
Information(Objekt ID 95127)
|Production date||June 9, 1990|
|Category||Shadow figure, Puppeteer and puppet|
|Themes||Children, Shadow figure|
|Size||Different sizes, from approximately 50 centimetres to approximately 100 centimetres tall|
Christiania Teater AKA Mona Wiig.
Teaterfigurer, bedre kjent som teaterdukker, har spilt på norske scener i generasjoner, til stor glede for publikum i alle aldersgrupper.
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 Kristin Helene Oftedal played the role of Eurydice, in its different incarnations.
You may also have a look at the other shadow puppets registered from this production in Sceneweb. These are Orpheus, 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.
Mona Wiig's private archive
Information about the production from Christiania Teater
Donated by: Mona Wiig
Eurydice 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 cut-outs varied. Some were so large they had to be stiffened with piano string and/or thin wooden sticks.
The shadow puppet Eurydice 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 Eurydice 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.
Information about the production from Christiania Teater, June 1990