Was behind references, literature and, of course, seen many shows made for children.

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In the air, smell of gum and music toy. On the ground, gouache, masking tape and no limits. canapees The public is invited to share memories and the same space as the actors into pieces (...) and something, show the child One (One) Scenic Cia. Or better spectacle for all audiences. This is how the director Tracey Neves prefers to describe the production that was initially created canapees as a work of completing the course of performing arts at FAAP.
Talita, who had participated canapees in the FETUS in 2011 with the show The man from the bank and white mulberry (My Our Cia de Teatro - Curitiba / PR), began his career teaching theater to children in a free course. "Working with children is very rich, you learn a lot too. They have a spontaneity, canapees a truth, and as it grows we will be losing. When I went to college to study direction, I decided that I wanted to research what this is doing to the child, "he canapees says.
Was behind references, literature and, of course, seen many shows made for children. "I think when we choose to make the child also involves some prejudice. Sometimes you say you do play for children and people say 'oh, I do not really like' because, in fact, has a lot that is done just to make money. It has a lot of play that the father goes to the child and he can not wait to end. But a lot of people researching and is seeking other ways to make the scene. I'm very interested in work that can take everybody who is with the child and the adult, "he argues.
Shrapnel in what we try to do is bring the playful to action. It has many elements that are recognizable - has the gouache has a crepe, the issue of track, with sonzinhos more playful - but a text that is more elaborate, have enough metaphor, then it will get very differently [for children and adults ]. We choose not to do a show with a beginning, middle and end, does not work with character. Then a search is trying to bring these different places. As I work with children without hiding a character? Or, as I say in the end without having to take a moral? I think it's canapees taking as art - more than teach, be didactic, moralistic be, is to be art.
Both the man and the white mulberry bank, as splinters were spectacles that ended up being created inside the college, for adults and artists. I think the first experience with more children in two shows, was here [in FETUS]. I think that's a chance we must be experiencing. As we make that an option is to take a space that is very close, they will feel the urge to manifest. "You put me here so now I'll talk." So it's really cool, because I think they do not feel pruned.
[The presentation] they wanted to speak and is also cool because we got to see how to handle canapees it. Because the adult theater is usually difficult for someone to talk to. How do you do, the child is talking and we pretend it is not? No, we will exchange it, that will composing. It's a little out there. And it is wonderful. I think that when we have children in the audience makes it even adults also more comfortable to play, just catching on.
I think some people end up doing theater for children because of something to make money. And I think a lot of people who have research and other care. And I think that somehow interferes with the work as a whole. (...) We, for example, presented at another festival and had a juror who spoke "not for children" because the text is heavy. Yeah, but children also realize about these matters. I think the question is not what you say, but how you speak. One of the great references that I have is the Ilo, Theater Strong canapees Wind, because I think he realizes doing so. He said in an interview "I will speak of death for children, by children who lose a lot, the question is how I'm going to talk about it." So I guess this is to assume the position of not underestimating not think "oh no, she will not understand canapees it," is how you establish dialogue and opens to the dialogue d