"Ça ira" in Poznan - the explication

"Ça ira": Show in three Actions

The Composer: Roger Waters

On the basis of the original libretto



Nadine Roda-Gil

The Main Characters:

Barbare Gutaj - The First Soprano - MARIE MARIANNE - the Voice of FREEDOM, REASON, and also REPUBLIC (always dressed in the long, white tied robe with tricoloured sash, decorated with garlands)

Monike Mych - The Second Soprano - MARIE ANTOINETTE - QUEEN of France

Magdalene Nowacka - The Third Soprano - MARIE TERESA

Pawel Skalubie and Piotr Friebe - The First Tenor - the REVOLUTIONARY PRIEST

Robin Tritschler - The Second Tenor - the OFFICER

Wayne Elington - The Third Tenor - the REVOLUTIONARY SLAVE

Wojciech Drabowicz - The First Baritone - Master of ceremony

The Second Baritone - the TROUBLE-MAKER

The Third Baritone - Louis Capet - the KING of France

Other vocal parts:

The Boy 'Honest Bird' (the young REVOLUTIONARY PRIEST)

The Girl 'Madam Antoine' (the young MARIE ANTOINETTE)

The Big mixed CHOIR. The CHOIR is also a circus audience. Also the CHOIR plays various roles: POLITICIANS, the SOLDIER, CROWDS, etc..

The Big CHOIR of Boys.

Non-vocal parts:

The FIRST CLOWN - Clown with face paint white and tear painted in on the cheek, dressed in the hat with the dog-ears and one-piece, embroidered with sequins costume; the trousers is up to its knees, white stockings, the black high-heeled shoes. He is carrying the silver trumpet which for imitating and parodyin

The SECOND CLOWN - the Person-orchestra.

The THIRD CLOWN - the Dwarf, the purpose and a victim of all jokes.


When the audience is taking its places in a hall and an atmosphere of anxiety is prevailing around the auditorium; howling of the wind, howling distant dogs from time to time and heard an ominous cawing of crows. House lights are darkened till the middle.

Offstage approaching the sounding of the Revolutionary anthem is heard, " ca ira ", played on the trumpet which the military kettledrum is accompanying.

On the left scenes ahead of the covered curtain are resulting to the circus which is making the stage centrally put: the FIRST CLOWN (imitating the match of the trumpet), the SECOND CLOWN (with the military kettledrum), the THIRD CLOWN is romping at the back. They aren't keeping an eye on the audience. When arenas are reaching the middle, they notice spectators, they are getting into the pretended brawl, in searches of an output from the right party of arena.

The THIRD CLOWN leaving is nodding.

Lights are going out at all scenes and on the auditorium...

Accessing the conductor to the scene led with spotlight. The conductor and the orchestra are found on the second stage which is uplifted on the left arenas. The conductor is folding the bow and lights are catching fire on desktops of musicians.

The Overture - The Gathering storm.

In the middle of the overture character of music changes (a fast kettledrum is heralding it), and in full light appears: the classical circus arena written down into the space of the quadrilateral. Galleries around of it variously put which the places of the action are diversifying. There is also a traditional circus entrance covered by a picture - this way they are entering and artists are leaving. Thanks to the change in lights and the performance of actors the action can move into different places: to the Parliament, into the Tuilleries palace, to streets etc..

Above the circus scene an acrobat is acting on the " Reminding a bird ". The acrobat is actually acting above the auditorium on the suspended trapezium to the shoulder. After a bit on the trapezium slung under the second shoulder a next acrobat is turning up to the trapezium. A display lasts for outstripping a few acrobats from the trapezium to the finished trapezium with acrobatics on two trapezia at the same time. At that time in the one-storey part a display of performances lasts for stages on pershach (vertical held masts on shoulders placed by acrobats in two levels, and on their peak display of acrobatics of the next artist).

Displays are unfolding also into different scenes and they last through the entire overture.

The choir which is representing higher and lower social classes is a circus audience, he is reacting uncontrollably to next events.

A King is entering and going out of one's way on the rear for surname, to what extent he can bring himself at howling of the crowd, he is coming off to his royal box.

When the music is being changed in waltz (music of the Queen), a Queen is entering and with dignified strut is parading around the arena, on the way humiliating the THIRD CLOWN which he is trying with it to dance.

In the end he will attach to the King. When the overture is achieving the climax, the crowd around the arena is spending shouts "Oh" and "Ah" into this way reacting to shows of the acrobat.

The End of the Overture.

The Choir is standing up and he is applauding. The King and the Queen are observing it with the contempt from their box. SECOND CLOWN is going the circus up; he is drumming and he is finishing with melodramatic blow in the dulcimer. An illumination is changing and the action is movingoneself to the scene No. 3. This stage is an artificial garden being found to the right of the circus.

Act I

Scene 1

A singing of the bird is heard. Under the tree of the peach a swing is standing. Behind the garden wall, on the branch of the oak a boy is sitting (the Honest Bird). He is repeating the solo of the flute with tacit whistling. On one of galleries from the rear lighted window. The scene is happening in the garden.


This way a beginning of this show described here faithfully behind the script looks.

What is this show about?

Straight taking hold of the thing it is talking about the French Revolution. It's portraying the history been good of this insurrectionary dash having begun from portraying the manor house and the parliament before the revolution, through inciting to the protest, very revolution together with its vicissitude i.e. with imprisoning the king, the escape of the royal family, restoring the monarchy and finally with victory of the Revolution together with cutting the monarchal family.

About what still?

The French Revolution is a pretext to deliberations about the freedom and its effects. It's talking also about certain Utopian ideas which then were initiated and which were continued in next years in it to a considerable degree in the XX century. Ideas, which abused socialized against introducing them.

It in the route after all they were telling this revolution about the collectivization, a famous statement appeared - 'all children are our children', it to needs of the Revolution was designed for all the same clothes etc. So the description of the French Revolution is becoming the chance to deliberations about the freedom, dangers and benefits from it swimming.

Freedoms in every aspect of the life: freedoms of the individual, freedoms of the society. Of the racial tolerance, the freedom of thoughts, a freedom of speak, economic freedom and etc..

Poetics of show.

In order in short to describe the poetics of the show one should divide them in the classes musical and spectacular.

In of the one first a music is dominating strictly operatic however which after making alterations will contain more elements of the rock music and fragments spirituals.

In spectacular layer it will be dominating convention of the multilevel open air show. Outside the scene, on which the orchestra will be found, we won't be dealing with the normal scene. Except for a stage on which there will be an orchestra, we shall deal with a unusual stage. With the operatic convention it will be intertwining world of the circus and acrobatics. Hence in the foreground circus arena lined with multifunctional galleries (depending on the necessity to imitate they will be the Parliament, the Royal Lock, Wersal, flats of inhabitant of Parises and the like) and gigantic structures serving for high-altitude acrobatic displays. The language of the opera and the circus will be alternating with the language of film (three-dimensional projections on the screen will be imitating the part of the real world) and of mass show (marches of armies, battle scenes, the cavalry, carriages and the like) with using the space formed by streets. Also a space formed by existing buildings e.g. will be used by putting one of choirs on roofs and terraces of pavilions of Poznan Markets. A pyrotechnic show which won't be will complement the effect with display of artificial bonfires. It will be display of pyrotechnic elements woven in into the action. And in the end of the lighting. It is a very essential element of the show. In the sky because and on buildings we will be painting with lights. But we will apply them in the unusual way - instead of to build certain elements of a film set, we will paint them from land to the height of 3 km into the sky behind the help of lights. We are making plans for such unusual stage production efforts quite a lot, but it is hard to describe it with words.

Executors and requisites, and also unusual participants:

The Orchestra - 70 persons
Choir of the Big Theatre - 100 persons
The academic Choir - 50 persons
Boys Choir - 30 persons
London Public Gospel Choir - 15 persons
Ballet - 35 persons
Conductors - 4 persons
Soloists - 14 persons
Stuntmen - 9 persons
Militarians - 120 persons
Technical workers - 100 persons
Horses, carriages, vehicles.

(c) Viva Art Music 2006



© 2006 Bob Close, Inc.
All rights reserved.

Posted: 19 2006

(Bob Close)

\CA IRA Poznan



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