"No book for children should be written for children."

I think that the greatest challenge in writing a text for children's theater is precisely the difficulty and responsibility of writing a narrative that doesn't take it easy on the contents it proposes. This is the first time I've written a children's play and I take it as seriously, if not more seriously, than if the text were to be evaluated by an academy for adults.

Message from the City Mayor

Over the years, Teatro do Noroeste - Centro Dramático de Viana has given us high quality theater performances, for the most varied audiences and tastes. Therefore, it is always with enthusiasm that our Teatro Municipal Sá de Miranda welcomes a new play and, in this particular case, I cannot fail to praise the importance of the theme addressed.

"Lápis Cor de Carne", with text by Cláudia Lucas Chéu, is on stage from February 15th to March 11th, at Teatro Municipal Sá de Miranda, and intends to raise awareness among the school public and the general public for equality among all, regardless of skin tone and nationality.

This is a didactic work, which aims for a fairer and freer future for all and, therefore, I am very pleased to see our children and our public have the opportunity to watch this very valuable play.

I would like to congratulate the whole team that makes up "Lápis Cor de Carne", from the person responsible for the text, to the director, costume designers, set designers, music, lighting designers, choreographers, and the actors who interpret the play.

This is another inclusive work with such a pertinent theme. For this very reason, I hope that citizens of Viana do Castelo and visitors will have, in these days, the opportunity to go to our Teatro Municipal Sá de Miranda and enjoy a memorable show.

The Global Majority of People

After a lifetime of more than three decades of public service in England's education system, Rosemary Campbell Stephens had a dream come true: retirement before her 60th birthday and a move to the Bahamas, home of Jamaica, the former British colony and home of her parents. However, instead of stopping, the retired professor dedicated herself even more intensively to one of her research areas: ethnic equity, and in 2003 she first formulated the concept and the term to which she continues to devote her work: People of the Global Majority.

In Anglo-Saxon culture, the term "people of color" emerged in the mid-20th century in the United States of America as a form of segregation and subalternization of black people. But from being offensive at first, the concept evolved, and black communities themselves began to employ it in reference to themselves, appropriating the term as a mechanism of empowerment. However, as the social justice discourse evolved over the years, the term began to expand to include more and more groups of non-white people, including Native, Latino, Asian, Arab, and other Middle Eastern people, in a negative experience for both the Black population as well as all other groups of non-white people who suddenly came to be considered "people of color," a designation that instead of mitigating racial injustice and inequality, created even more division and conflict.

In the United Kingdom, in the 1970s, the term BME (Black and Minority Ethnics) was coined to designate the black and non-white population that were united in the fight against discrimination, to which the "A" was later added, thus resulting in the term BAME (Black, Asian, Minority Ethnics) that is used to aggregate all non-white ethnicities.

However, this term has come under increasing criticism because, like the concept of "people of color," both put the perspective of white people at the center, perpetuating the pernicious idea that white is the "default color" and that white people therefore have no particular ethnicity. Race thus remains an exclusive identity marker for non-white people, who continue to be designated "colored" for the reason that they are not "color-free," i.e., white. Thus, the designation "people of color" continues to situate the existence of non-white people in a strict relationship with "whiteness" rather than liberating them from it.

In turn, the concept of people of the global majority (under the acronym PGM) considers the identity of non-white people in a way that is independent of whiteness. It is a term that not only decenters "whiteness" but also gives it irrelevance. The term stands on its own. It has a meaning of its own. It refers to an identity that is liberated from a subordinate relationship to "whiteness".

This is mainly because the term affirms the power inherent in the fact that non-white people make up the majority of the world's population (about 80% of the world's population is non-white). This contrasts with the fact that "people of color" in the US are still considered minorities, even though they are expected to outnumber the white population of that country as early as 2050.

Conversely, the term "global majority people" allows non-white people around the world to reject the hierarchy of white supremacy, and to claim their own power autonomously and based on global solidarity rather than oppression.

The term "people of the global majority" is broadly inclusive of all non-white people of the World, opening space for the construction of pluralistic and multifaceted narratives by non-white people about their own struggle against racial oppression, all over the planet. Most importantly, it enables the development and affirmation of global solidarity against white supremacy without resorting to cultural erasure of any kind.

Teatro Nacional21 · Teatro do Noroeste - Centro Dramático de Viana

It is with great joy, pleasure, will and with the certainty that together we are stronger, that TN21 assumes this co-production with Teatro do Noroeste- Centro Dramático de Viana (TN-CDV) in 2023, with the show "O Lápis Cor de Carne" written by the playwright Cláudia Lucas Chéu inspired by Luísa Ducla Soares' text "Meninos de Todas as Cores".

Since 2011, with Glória or as Penélope Died of Boredom by Cláudia Lucas Chéu (on stage at TNDMII and TNSJ), TN21 is willing to destabilize and promote discussion in the fight for this common cultural design. In the path of experimentation and of an attentive look at the present moment, Teatro Nacional 21 has become a space or a platform where theater and the word have always dialogued with the focus on the provocation of a living and critical thought.

Ricardo Simões, director of Teatro do Noroeste - Centro Dramático de Viana, launched this challenge to our company. To design a show for children. To date, we had never embarked on this perspective, however, one of the founding principles of the company's projects has been pedagogy through art and we have always tried, in each new production, to broaden the spectrum of themes, the teams we work with, to work on parallel programs that help convene spectators to a more active role and not mere receptacles of a line of information. So we accepted this challenge of designing a show in tune with Viana do Castelo, directed by Natalia Syvanenko (Ukrainian artist and director, who according to her own "it's a very important project because being away from home it is very important for me not to lose touch with myself, my community and my profession." All this beautiful scenery enhances one of the company's strengths, which stands out for artistic creation and consequent presentation, in a perspective of permanent cultural decentralization solidified in contemporary Portuguese dramaturgy. This partnership with Teatro do Noroeste- Centro Dramático de Viana (which has 14 people contracted), based at Teatro Sá de Miranda, comes in the organic development of this vital relationship with our co-producers at national and international level (this year TN21 starts its journey at Mirada Festival in São Paulo with one of its last performances, "Orgia" by Píer Paolo Pasolini). The expansion of our network of co-producers is fundamental in our artistic development and above all in the common will to reach more audiences, to potentiate and materialize concerns and thus, to actively contribute to a more tolerant, empathetic, plural and free society.

We are the other.

Letter from the Director

My name is Natalia Syvanenko, and I am a Ukrainian theater director. Despite my youth, I have been at the active stage of the production process for over 8 years and have had the pleasure of experimenting with different forms and genres of theater. Along with classic literary material from the state theater, I have also been lucky enough to work in the independent sector on documentary and immersive projects. One of the biggest projects was done at the independent Kyiv Wild Theater with the support of UN Women, dedicated to action against gender-based violence.

I had the opportunity to hear stories from the hotline, as well as visit women's shelters and speak directly with victims of violence, looking for an "in and out" point in each story. One of the stories in the play was the story of my own family and it was important for me not to mourn it, but to take the opportunity to see it from the outside. Together with the actresses, we were looking for options to trace exactly the social attitudes that lead to this violent co-dependency. We didn't want to make anyone good or bad, just to bring everyone back to themselves. I firmly believe that all social dogmas are in fact established in childhood as a norm of behavior, and all adults are former children who have compounded their attitudes imposed by the previous generation and the "convenient political system."

The last production I was able to realize in the peaceful city of Odessa, Ukraine, was the musical "Pippi." Before that I had only worked on children's material during New Year's breaks, and a performance for teenagers; so this was the first full project for younger audiences. But it was still important to me to tell children not only about the adventures of a strong girl, but also to reveal the deeper layers of this tale. Peppi has had the stereotype of a rough girl, the daughter of a pirate and a liar attached to her since childhood. In our play, we put an important emphasis on the moment of choosing her own identity. She was able to go through a process of separation and realize that she has the right to become exactly the person she likes and not depend on her family's biography. Moreover, she can apply the forces of family tradition to her own benefit. This is how her father's paternal talent became Peppilotta, the fairy tale writer. When we met with Ricardo Simões and Elisabete Pinto at the European Theatre Convention conference in Prague and discussed the possibility of collaboration - I was immediately excited about the idea, because it brings together the experience of my favorite and important works. It's an opportunity to talk to more children and help them from an early age to see how outdated the old standards and stereotypes are that they may encounter in society, and how much more comfortable and enjoyable it is to form their own vision. By turning this into easy, funny and touching scenes that all ages can understand - we can take them to a new and exciting city where there is room for friendship, respect, acceptance and equality.

For me it is also a very important project because, being away from home, it is very important for me not to lose contact with myself, my community and my profession. I left the country 4 days after the full-scale invasion and am now in residence at the National Theater in Graz. Right now, all the theaters I was working in are closed, and it is not a fact that it will be possible to stage at least one of my previous productions. This is why I am really happy to be able to create socially innovative productions and to continue working.

Synopsis

Cláudia is an adult and writes books, but, like all adults, she used diapers and had to learn to read. Cláudia grew up in a poor neighborhood. She played and fought with children of all skin colors and various nationalities. She learned early on that people are all different and that sometimes they don't understand each other. From his childhood memories and inspired by the story "Meninos de todas as cores", by Luísa Ducla Soares, a narrative is built with several episodes of discrimination, violence, but also friendship, overcoming and discovering the place of the other. From the memories of a child, the present is created and a near future, fairer and freer for all, is projected.

The Interpreters

Alexandre Calçada

Born in Faro, in 1992. She started her professional activity as a teenager, during the summer vacations and weekends, in the hotel area, having, later, worked in nightclubs in the Algarve region, also during the vacations, already as a theater student. In 2014 he finished his degree in Interpretation at the Escola Superior de Música e Artes do Espetáculo do Instituto Politécnico do Porto (ESMAE-IPP). He has worked with directors such as António Durães, Marco Martins, Jorge Castro Guedes, Paulo Calatré, Fernando Mora Ramos, Kate Craddock and Nuno Carinhas. Through the Erasmus program he worked as an actor in two films made in Newcastle, England, UK. Still in Cinema, he participated in the short film "Dentro" by João Nuno Faria. He has some work with national fiction producers: Plural Entertainment, in the soap operas "Santa Barbara", "Massa Fresca" and "Jogo Duplo"; and in SP Produções, in the soap opera "Paixão". He began collaborating with Teatro do Noroeste-CDV in 2018, in the show "The Innkeeper", by Carlo Goldoni, with staging by Ricardo Simões. He participated in the Summer School for Actors, coordinated by Guillermo Heras, in 2019, 2020 and 2021, having had training with Alexandra Moreira da Silva, Isabel Barros, João Henriques and Carlos Avilez. In the company's resident cast since 2019, he integrated the cast of the shows "Farsa de Mestre Patelin", by João Mota (co-creation with A Comuna); "Rottweiler", "Ovos Misteriosos", "A Noite", directed by Ricardo Simões; "O Gato Malhado e a Andorinha Sinhá", directed by Tiago Fernandes; "Falar Verdade a Mentir", directed by António Capelo; "Hantígona", directed by Guillermo Heras; and "Memória, Memória, Começa a História! ", by Graeme Pulleyn. Besides being an actor, he is also a production assistant in the company; a trainer in the regular theater workshops of the Comunidade do Teatro do Noroeste-CDV project, as well as a monitor in the vacation theater workshops of the company's Education Service.

Alexandre Martins

Graduated in Film - Scriptwriting branch, by Escola Superior de Teatro e Cinema, 2006. Professional actor since 1993, he joined the cast of Teatro do Noroeste-CDV until 1995. He was directed by José Martins, Castro Guedes and Dantas Lima in texts by Carlo Goldoni, António Torrado, Garcia Lorca, Molière, José Jorge Letria, Prosper Merimmè and Bernardo Santareno. In 1996 he joins the cast of Teatro ao Largo, Vila Nova de Milfontes. That year he is directed by Stephen Johnston in texts by Carlo Goldoni and Gil Vicente. In 1997 he rejoins the cast of Teatro do Noroeste - Centro Dramático de Viana, Viana do Castelo. He was directed by Xúlio Lago and Castro Guedes in texts by Ibsen and anonymous authorship, from Auto de Floripes. In 1999 he works with the actor Gil Filipe in the Contracena project in Porto. Under his direction, he works on texts by Hélder Costa, Gil Vicente and Lucilo Valdez. In 2000 he joins the Teatro Oficina project in Guimarães. Under the direction of Gil Filipe, he works on texts by Almeida Garrett and Gil Vicente. In 2001 he works in the cast of Art'Imagem in Porto under the direction of Pedro Carvalho and Roberto Merino in texts by Alfredo Teixeira and Ricardo Alves and Alfred Jarry. Between 2006 and 2012 she works in audiovisual training in public schools, integrating a project of the Associação Ao Norte de Viana do Castelo. Between 2015 and 2019 integrates the cast of the project Krisálida - Cultural Association of Alto Minho in Caminha. She also has participation in several soap operas between 1994 and 2022. In 2021 he participates in the webseries "n00b" for RTPplay by the production company Creative Arts. In 2020 he joins the resident cast of Teatro do Noroeste - Centro Dramático de Viana, Viana do Castelo and, to date, has integrated the cast of: "Falar Verdade a Mentir", directed by António Capelo; "Hantígona", directed by Guillermo Heras and "A Noite", directed by Ricardo Simões; he is a trainer in the Teatro do Projeto Comunidade workshops and a monitor in the vacation workshops of the Company's Educational Service.

Marta Bonito

Actress and creator. She attended the Social Sciences and Humanities course (FCSH) and the MA in Literary, Cultural and Interarts Studies (Faculdade de Letras da Universidade do Porto). She completed the Acting course at Drama Studio London in 2018. In theater the projects Spicy White (2022) directed by Josh Hinds, Pains of Youth (2018) by Helen Tennison, Barulheira (2015) directed by João Sousa Cardoso and Katzelmacher (2012) directed by Luís Araújo and Ricardo Braun stand out. In performance/movement, Trojan Horse (2015), co-creation with André Mendes, Suite nº1 ABC by Joris Lacoste (2014) and Bodies in Urban Spaces (2013) by Willi Dorner. In film A Ronda da Noite by João Sousa Cardoso (2013), A rapariga de Berlim by Bruno de Freitas Leal (2014), Som by Alex Turvey (2015) and Six Days After Forever by Yoi Kawakubo (2022). He is currently developing the solo My body is not your country with a premiere scheduled for late 2022 in London.

Ulé Baldé

Lé started her artistic path at Colégio São Miguel, in Fátima, in the course of Arts Design Ceramics and Sculpture and later, in 2017, took the Tesp in Illustration and Graphic Production, having finished in 2018. She currently has a degree in Theater at the School of Arts and Design in Caldas da Rainha. In June she finished her internship with the theater company "Estrutura" located in Porto, she was part of the play "O meu primeiro corpo" as an interpreter and costume assistant in 2022. In 2021/2022 she participated as an actress in the film "Nação Valente" from the director Carlos Conceição. In July 2022 she participated as an actress in the film "Primeira Obra" by Rui Simões and "Entroncamento" by Pedro Cabeleira. Currently she is in performances of the play "Lápis Cor de Carne" with Teatro do Noroeste.

The Creators

Cláudia Lucas Chéu

Writer, poet, playwright and screenwriter. She has published the texts for theater Glória ou como Penélope Morreu de Tédio [2011, Teatro Nacional D. Maria II], Violência - fetiche do homem bom [2013, Teatro Nacional D. Maria II], A Cabeça Muda [2014, Cama de Gato editions], Veneno [2015, Guillotine editions]. In prose poetry, he published the book Nojo [2014, (non) editions]. In poetry, the book Trespass [2014, Guillotine Editions] and Pornographia [2016, Labirinto Publishing]. In 2017, the book Ratazanas [Selo Demónio Negro, São Paulo (Brazil)] was published in poetry. She published in 2018, her first novel Those Who Will Die, [Labirinto Publishing House] and Drinking by the Bottle [poetry, Companhia das Ilhas Publishing House]. The Bullet Woman and other short stories [Labirinto Publishing, 2019], Confession [poetry, Companhia das Ilhas, 2020], the Sapiens Woman [short stories and essays, Companhia das Ilhas and Público newspaper, 2021] and The Lying Life of Children [Nova Mymosa, 2021]. He has just published Ode triumphal à Cona [poetry, Companhia das Ilhas, 2022] and Orlando - Tratado Sobre a Dignidade Humana [2022, Teatro Nacional Dona Maria II]. The book Confissão (Confession) was a semi-finalist for the Oceanos Award in 2021.

Natasha Syvanenko

Born in Ukraine in 1995, she studied Cultural Studies at Kyiv University of Arts and Theatre Directing at Kyiv National University of Theatre, Film and Television. She started working in Ukrainian theaters in 2014, combining her first directing job with theater management. She founded and curated projects at Molodyy Theatre and on the independent scene (Mystezkyj Arsenal Cultural Complex, Wild Theatre), as well as international collaborations with the European Theatre Convention. He has worked with different genres (dramatic theater, physical, immersive and documentary theater, audio performances, video format). He directed musical, choreographic and interactive productions at Molodyy Theatre, Wild Theatre and Personality Theatre in Kiev, as well as at "V. Vasilka" in Odessa. His documentary project "Scars", which consisted of a stage production, an audio as well as an interactive video format, was presented in six cities in Ukraine and nominated for the "Game" theater award.

Cláudia Ribeiro

Born in Mirandela, Trás-os-Montes, 1972, she studied arts at the Soares dos Reis school, set design and costume design at the Academia Contemporânea do Espetáculo and costume and props design at the Wimbledon School of Art. For 12 years she was the coordinator of closet at the Teatro Nacional S. João, in Porto.  Currently, as a freelancer, she develops a work as creative and technical coordinator in several cultural structures, local and national. From the most diverse authors, to the most diverse performing arts, always in the area of costumes and props, she worked with the most diverse personalities in the area of theater, music, opera, ballet, television and cinema. He taught until 2021 several disciplines at ESMAE in the area of scenography and props. Currently, she develops the discipline of textile technology in the artistic school Soares dos Reis.

Joana Carvalho

She is an architect and founder of the creative hub of Viana do Castelo, DINAMO10. She started this community with the conviction that interaction and sharing are key factors for creativity, innovation and success. After 4 years in Barcelona, where she graduated in architecture and did a master in ephemeral architecture, in 2007 she returned to her hometown to found her architecture studio and, in 2010, to create one of the first cowork spaces in Portugal, with the ambition to grow in impact rather than size. At the invitation of Teatro do Noroeste-CDV he made the plastic realization of the show "The Blue Angel", from Nuno Higino, with staging by Elisabete Pinto, scenography work that won the Lápiz de Acero Award in the category "Efímera Architecture" of the prestigious Colombian design magazine Lápiz de Acero, in 2012. Since 2017 his cowork space is part of the European Network of Creative Hubs, a community that promotes innovation through the cultural and creative sector. In 2016 he co-founded Viana Tech Meetups, which aims to be a meeting point for professionals in the technology sector, where he has the role of making the connection to the creative sector. Since 2019 he is a member Creative Commons Portugal, where he seeks to implement projects with relevance to the creative community, such as CC Local Point, an initiative of DINAMO10.

Noiserv

Noiserv, who have been called "the orchestra man" or "one-man band", has a career marked by the composition and musical interpretation of themes that travel between memory, dream and reality, and is the solo project of David Santos. He has a successful debut album "One Hundred Miles from Thoughtlessness" in 2008, the EP "A Day in the Day of the Days" in 2010 and in October 2013 released "Almost Visible Orchestra", distinguished in 2014 as "Best Album of 2013" by the Portuguese Society of Authors. In 2016 he released the album "00:00:00:00" an intimate reflection on the piano. With more than 500 concerts in Portugal and abroad, he is part of a series of other musical collaborations, namely with You Can't win Charlie Brown, of which he is a founding member. He also contributes to the national film and theater panorama, highlighting his collaborations in theater with Marco Martins, Nuno M. Cardoso and Rui Horta, and in film with Miguel Gonçalves Mendes and Paulo Branco, among others. In 2018 he composed the original music for the new image of RTP1 among many other projects. Along with four soundtracks, in 2020 Noiserv released their fourth full-length "Uma Palavra Começada Por N" nominated for IMPALA's best European independent music album award.

Wallace Wong

A Hong Kong native, born in 1993, graduated from The Hong Kong Academy of Performing Arts, in Fine Arts (Honours) in Dance, he came to Portugal in 2018, the year he enrolled in the Dance Interpreter course at Performact. He started dancing in 2010 as a street dancer, mainly in hip hop Freestyle. He has been a member of the Hong Kong Baptist University Dance Association for three years and has participated in many local cultural street activities. He and his partners formed a hip hop team called "Asylum Strangers" which aims to improve a higher level of dance technique while opening up to experimenting with different types of dance styles and elements. In 2018, she graduated from the Hong Kong Academy of Performing Arts School of Dance, majoring in Contemporary Dance. He has worked with many international choreographers and directors such as Rakesh Sukesh, Olga Roriz, Ricardo Ambrozio, Gonçalo Labato, Diane Madden, Leila Mcmillian, Gabrielle Nankivell, Dam Van Huynh, Laura Aris, John Utan, Christine Gouzelis, Paul Blackman. Wallace represented the academy to participate in the International Creative Dance Seminar organized by Beijing Normal University in 2015. In 2017, he was awarded the Wong Cho Lam Scholarship and the Faculty of Contemporary Dance Scholarship. Currently, he participates and is invited to various projects as a dancer.

A cenografia de Lápis Cor de Carne

When starting a project as artistically ambitious as Lápis Cor de Carne, which aims to be able to sensitize audiences between 6 and 10 years old to values of ethnic, gender and ecological equity, sustainability is a key to think about the creation of an artistically effective and technically efficient scenography, contemplating a cycle of utility that will transcend artistic performances, so that we know exactly what will happen to the scenography after the life cycle of the show. Whether it will be made of materials with later utility potential, or of elements that will have to be eliminated, we propose the incorporation of a third moment in the scenography's life, to be considered in addition to the traditional production-presentation binomial.

What to do with this scenery?

It could be the title of a play.

Hypothesis 1: if it has a utilitarian character, monetize it through sale or partial or total donation.

Hypothesis 2: store it indefinitely, waiting for opportunities to reuse, repurpose, donate or sell it.

Scenario 3: Put in the trash, either entirely, in parts or through decomposition into materials depending on the raw material (plastic; metal; wood).

Hypothesis 4: reconversion, through the dismantling and use of materials for future scenery, a practice that currently we can synthesize as recycling. Desirably, this is the option that should be favored, because it is the most sustainable. Thus, the production process of the scenography of this project will also incorporate the cycle of reconversion of the scenography, assuming a creative design that aims to cause the smallest possible ecological footprint.

Only with these elements and in this initial point of the creative process, the investigation of materials from the object plantable coloring pencils will be continued (instead of rubber, they contain a capsule with seeds of aromatic herbs and small plants that allow that, when the pencil becomes too small, it can be planted instead of going to waste), and its poetic and sustainable potential, which appears as a possible base element for the design and construction of a scenography that can be simultaneously able to serve the dramaturgy and the show as well as, also of having a later life cycle, of utilitarian nature but whose poetic charge is projected in time, as a symbol of diversity and tolerance, and also as an element of sustainability through the use by children and families who watch the show, and even by children and families who, not having seen the show, may eventually benefit from the offer of pencils from the reconversion of the scenery that, ultimately, being able to be planted will represent, in themselves, elements of promotion of good sustainable practices in family daily life.

Dressing “Lápis Cor de Carne”

The costume is, in the last stage, physical matter that survives the action of each theatrical performance, remaining for the day and the next performance. It starts as the artist's trace and goes from the idea to paper and from paper to materiality. Costume design contemplates the materialization of clothing for the performers' bodies, to be used for the strict duration of its utility as an integral element of the show. And once the cycle of performances is over, the variable set of textile pieces and props that make up the costumes loses its usefulness. And if up to this point of the process of design and use of costumes may not be considered assumptions of sustainability, these always end up emerging. Also because of this, for this Lápis Cor de Carne, materials will be used that allow that, once the show is over, the costumes can be reused, either entirely as garments or reused in material terms.

About Music or the Movement of Notes

I have always liked theater, reinvent myself with the younger ones, and love to travel with them through words. Here, in this text by Cláudia Lucas Chéu "O Lápis Cor de Carne", (inspired by a text by Luísa Ducla Soares "Menino de Todas as Cores"), the fact that it is directed by a Ukrainian director, who inevitably carries all the vibration of a living transformation, a war in her body, the desire to join a partnership that decentralizes culture in this country and to be able to work with my friend Albano's company, Teatro Nacional21, all this, for me, was inevitable to accept.

Talking about music for theater, for me, besides contributing significantly to the scene, in terms of emotional reactions, music can also be an instigator of movement. It can both contribute to make the scenic movement more expressive, and instigate the spectator to want to move.

The rhythm and melody of the music can also reinforce the emotional reactions and the suspenseful and tense atmosphere of the scene. Another interesting aspect of music is that it conveys color sensations. The spectator, for example, would tend to perceive a sinister color, equivalent to a gray coloration (for example), to the sound of music whose orchestration is essentially of bass sounds of clarinets, trombones and tubas. In this case, the timbric tensions can exert a very strong color-suggestive power on the spectator's, the children's, auditory sensitivity.

I often say that if there were no one in this world, we wouldn't be here doing anything. This, music, is to be lived with others. I need people to live with, so that I don't feel alone. And here, in the theater, I never feel alone, because things are more beautiful when they have many readings.