<\/p>\n\n\n\n
<\/p>\n\n\n\n Type:<\/strong> Recurring Practice \u00b7 Dance Education \u00b7 Young Audiences \u00b7 Choreography \u00b7 Theatre For approximately a decade, Ricardo Viviani was repeatedly engaged as choreographer for the M\u00e4rchen zur Weihnachtszeit<\/em> at Theater Hagen, contributing dance and choreography to a continuing series of productions for children, families and school audiences.<\/p>\n\n\n\n This recurring body of work is best understood as a distinct strand of Viviani’s practice rather than as a collection of unrelated individual productions. The productions combined theatre, music and dance and were presented as major seasonal events for young audiences at Theater Hagen.<\/p>\n\n\n\n The individual productions are documented separately in the archive. This record preserves the larger institutional and artistic relationship: the repeated creation of choreography for young audiences within the Christmas-period programme of Theater Hagen.<\/p>\n\n\n\n The M\u00e4rchen zur Weihnachtszeit<\/em> occupied a particular position in the cultural life of Theater Hagen. Contemporary reporting describes the Christmas fairy tale as a long-established pre-Christmas tradition for schools in the region and records audiences drawn from several generations.<\/p>\n\n\n\n A contemporary report from November 2012, on Die Prinzessin auf der Erbse<\/em>, stated that approximately 30,000 people of all generations were expected to see the production before Christmas<\/strong>, including numerous school classes. The report also describes the Christmas fairy tale as part of the pre-Christmas \u201ccurriculum\u201d for many regional schools. It specifically discusses Ricardo Viviani’s choreography and its effect on the predominantly young audience.<\/p>\n\n\n\n The figure of 30,000 is retained here as a contemporary reported expected attendance figure for the 2012 production<\/strong>, not as a calculated cumulative audience figure for the entire period.<\/p>\n\n\n\n Viviani’s role within the series was specifically choreographic. Contemporary Theater Hagen publications and press material repeatedly identify him as choreographer, including documentation for H\u00e4nsel und Gretel<\/em>, Kalif Storch<\/em> and K\u00f6nig Drosselbart<\/em>.<\/p>\n\n\n\n The 2012 contemporary review of Die Prinzessin auf der Erbse<\/em> gives additional evidence of the artistic character of this work. It describes Viviani’s choreography as contributing to the atmosphere of the production and specifically connects his choreographic approach with the imagination of a child.<\/p>\n\n\n\n This recurring engagement therefore provides substantial evidence for the development of dance as an integral component of Viviani’s work for young audiences, within large-scale theatrical productions rather than only within dedicated educational workshops.<\/p>\n\n\n\n The Theater Hagen M\u00e4rchen work is an important part of the broader Dance Educator strand in Ricardo Viviani’s archive. The audience was not incidental: the productions were conceived and programmed specifically for children, families and school groups.<\/p>\n\n\n\n The Theater Hagen programme for H\u00e4nsel und Gretel<\/em> explicitly describes the responsibility of presenting fairy tales to thousands of children entering the theatre space for the first time and experiencing the performance with all their senses. The production credits Ricardo Viviani with choreography.<\/p>\n\n\n\n The recurring M\u00e4rchen practice therefore represents a different but complementary form of dance education from workshop-based projects such as Carl & children<\/em> in Kleve or Carnaval da Dorot\u00e9ia<\/em> in Frankfurt: here, children encountered dance through professional theatre productions designed specifically for young audiences.<\/p>\n\n\n\n The individual production records currently documented in the archive include the Theater Hagen Christmas-period fairy-tale productions for which Ricardo Viviani’s choreographic involvement is recorded. These records should remain the principal sources for individual production facts, dates, collaborators, premieres and production details.<\/p>\n\n\n\n The broader production history includes, among others, Die Prinzessin auf der Erbse<\/em>, Der Froschk\u00f6nig<\/em>, H\u00e4nsel und Gretel<\/em>, Kalif Storch<\/em> and K\u00f6nig Drosselbart<\/em>, alongside other productions documented in the existing Theater Hagen production records.<\/p>\n\n\n\n The surviving press material provides unusually valuable evidence of the scale and cultural position of the M\u00e4rchen series.<\/p>\n\n\n\n In November 2012, TV58.de<\/em> reported on Die Prinzessin auf der Erbse<\/em> and described an expected audience of approximately 30,000 people of all generations, including numerous school classes. The article emphasizes the long-established relationship between the Christmas fairy tale and regional schools and discusses Viviani’s choreography as an important part of the production.<\/p>\n\n\n\n In November 2013, Lokalkompass Hagen<\/em> reported on the M\u00e4rchenwerkstatt<\/em> for Der Froschk\u00f6nig<\/em>, identifying Ricardo Viviani as choreographer and describing the public workshop as an opportunity to see the production process and meet members of the creative team.<\/p>\n\n\n\n Contemporary material for H\u00e4nsel und Gretel<\/em>, Kalif Storch<\/em> and K\u00f6nig Drosselbart<\/em> further documents Viviani’s continuing choreographic role in the series.<\/p>\n\n\n\n The importance of the M\u00e4rchen series lies not only in the individual productions but also in its institutional continuity at Theater Hagen. The recurring format connected professional theatre-making with a large and returning young audience, including organised school attendance and family performances.<\/p>\n\n\n\n The available documentation indicates that the theatre treated these productions as an important part of its relationship with younger audiences, while the recurring engagement of Viviani established continuity in the choreographic language of the series.<\/p>\n\n\n\n The Theater Hagen M\u00e4rchen series represents a substantial body of work in Ricardo Viviani’s development as a choreographer working with young audiences.<\/p>\n\n\n\n It demonstrates that his work with children and families extended beyond isolated educational projects into sustained professional theatre practice, where choreography formed part of large-scale productions experienced by school groups, families and multigenerational audiences.<\/p>\n\n\n\n The contemporary evidence of large attendance, repeated school participation and the theatre’s stated responsibility toward first-time young theatre visitors gives this strand particular relevance to the archive’s developing Dance Educator \/ Young Audiences<\/strong> history.<\/p>\n\n\n\n This recurring Theater Hagen practice is one of the strongest pieces of evidence for a long-term young-audience dimension in Viviani’s career.<\/p>\n\n\n\n It should therefore be read alongside, rather than merged with, his school-based dance education projects, cultural mediation projects and later young-audience activities. Together these records establish a broader professional strand in which dance functions as artistic creation, communication and access to culture for younger generations.<\/p>\n\n\n\n Surviving and identified documentation includes: individual Theater Hagen production records; Theater Hagen season programmes and theatre newspapers; contemporary press coverage; M\u00e4rchenwerkstatt<\/em> documentation; production photographs and other surviving visual material; and the broader Theater Hagen production list.<\/p>\n\n\n\n The 30,000 figure is retained specifically as the contemporary reported expected audience for the 2012 production Die Prinzessin auf der Erbse<\/em>. It should not currently be presented as a cumulative attendance figure for the entire approximately ten-year period.<\/p>\n\n\n\n Theater Hagen \u00b7 M\u00e4rchen zur Weihnachtszeit \u00b7 Christmas fairy tale \u00b7 young audiences \u00b7 children \u00b7 families \u00b7 school groups \u00b7 dance education \u00b7 Dance Educator \u00b7 choreography \u00b7 children’s theatre \u00b7 family theatre \u00b7 cultural education \u00b7 Die Prinzessin auf der Erbse \u00b7 Der Froschk\u00f6nig \u00b7 H\u00e4nsel und Gretel \u00b7 Kalif Storch \u00b7 K\u00f6nig Drosselbart \u00b7 Ricardo Viviani<\/p>\n\n\n\n This record documents the recurring institutional and artistic practice of Ricardo Viviani’s work as choreographer for the M\u00e4rchen zur Weihnachtszeit at Theater Hagen. Individual productions remain the primary records for production-specific facts and should not be duplicated here. Contemporary press and institutional publications are used to document the scale, continuity and young-audience context of the series. Attendance figures are retained according to their original documentary meaning and are not converted into cumulative estimates without further evidence.<\/p>\n","protected":false},"excerpt":{"rendered":" M\u00e4rchen zur Weihnachtszeit \u2014 Theater Hagen Representative documentation of Ricardo Viviani’s long-running choreographic work for the M\u00e4rchen zur Weihnachtszeit at Theater Hagen. Type: Recurring Practice \u00b7 Dance Education \u00b7 Young Audiences \u00b7 Choreography \u00b7 Theatre Period: approximately ten years \u2014 documented through individual production records Institution: Theater Hagen, Hagen, Germany Role: Choreographer \u00b7 Dance Educator … <\/p>\n
\nPeriod:<\/strong> approximately ten years \u2014 documented through individual production records
\nInstitution:<\/strong> Theater Hagen, Hagen, Germany
\nRole:<\/strong> Choreographer \u00b7 Dance Educator
\nAudience:<\/strong> Children \u00b7 Families \u00b7 School groups \u00b7 Young audiences
\nStatus:<\/strong> Historical record \u00b7 recurring institutional practice documented through individual productions and contemporary press<\/p>\n\n\n\n
\n\n\n\nRecord \/ Description<\/h3>\n\n\n\n
The Recurring Practice<\/h3>\n\n\n\n
Dance and Choreography<\/h3>\n\n\n\n
Young Audiences \/ Dance Education<\/h3>\n\n\n\n
Production History<\/h3>\n\n\n\n
Public Reception \/ Contemporary Documentation<\/h3>\n\n\n\n
Institutional Context<\/h3>\n\n\n\n
Contribution \/ Significance<\/h3>\n\n\n\n
Assessment \/ Relevance<\/h3>\n\n\n\n
Archival Material<\/h3>\n\n\n\n
Keywords<\/h3>\n\n\n\n
\n\n\n\nExternal Links<\/h3>\n\n\n\n
TV58.de \u2014 M\u00e4rchenhaftes Musical zur Weihnachtszeit am theaterhagen, 2012<\/a>
Lokalkompass \u2014 M\u00e4rchenwerkstatt im Theater Hagen: Der Froschk\u00f6nig, 2013<\/a>
Lokalkompass \u2014 H\u00e4nsel und Gretel, 2015<\/a>
Theater Hagen \u2014 Spielzeitheft 2015\/16: H\u00e4nsel und Gretel<\/a>
Theater Hagen \u2014 Spielzeitheft 2016\/17: Kalif Storch<\/a>
Theater Hagen \u2014 Theaterzeitung: K\u00f6nig Drosselbart, 2017<\/a>
<\/h4>\n\n\n\nInternal Links<\/h3>\n\n\n\n
Productions \u2014 complete production list<\/a>
Existing Theater Hagen production records
<\/h4>\n\n\n\n
\n\n\n\nArchival Note<\/h3>\n\n\n\n