Charon

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.

You may also have a look at the other shadow puppets registered from this production in Sceneweb. These are Orpheus, Eurydice and Kerberos AKA Cerberus. There is also a photo of the shadow puppet Hades, which can be seen if clicking the production entry. Charon brought the souls of the recently dead across the river Styx, to the kingdom of death, where Hades ruled.

SOURCES:

Mona Wiig's private archive

Donated by: Mona Wiig

Transported 11.11.2019.

Charon, the ferryman, was made as a two-dimensional shadow puppet. The material was white plastic, which was both bendable and firm. The cut-out figure was 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 Charon 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, developed by Luc Amoros. The design of the cut-out figures, the light source and the performance technique were to contribute to renewal of shadow theatre in Europe during the 1970es and 1980es.

The production Orpheus and Eurydice became the last production by Christiania Teater. The company had existed for five years, and made a total of five productions, one each year. Orpheus and Eurydice was performed four times.

The reason why Christiania Teater stopped its activity was that the working situation of Mona Wiig, the artistic director of the company, changed. In 1990, the work to establish the three-year pilot project called Norsk Dukketeaterakademi (literally: Norwegian Puppetry Academy, 1991-94), for which Wiig became the dean. The pilot project was to lead to a three-year Bachelor study in puppetry at Østfold University College. Wiig led this study until 1998. In other words, Christiania Teater had to give way to a national college education in puppetry.