Escola Montserrat Montero

Context

Flute Theatre empezó su relación con esta escuela a raíz de la colaboración de los alumnos en el taller que Kelly impartió a los integrantes de la Kompanyia Jove del Teatre Lliure. Trabajaron los ocho integrantes de la compañía con aproximadamente 15 niños del centro e hicieron dos talleres: La Tempestad (2017) y Sueño de una noche de verano (2018).

Viendo uno de estos talleres fue cuando yo descubrí el proyecto de Kelly y su compañía. Me quedé maravillado por lo mágico y útil de su trabajo y ahí empezó nuestra relación.

Más adelante, en verano de 2019, Kelly impartió un taller en colaboración con la AADPC (Associació d’actors i directors de Catalunya) dónde enseñó su metodología de trabajo a un grupo de 12 actores del que yo formaba parte. Ahí trabajamos directamente en las instalaciones del centro Montserrat Montero durante una semana con 20 niños e hicimos una muestra para sus familias al final de la semana. Algunos repetían porque habían formado parte de esos dos talleres en el Teatre Liure y otros era la primera vez que jugaban con Kelly. En ambos casos, el resultado fue increíble, y la reacción de las familias también.

Ahora, dada la situación excepcional que la pandemia de la covid-19 ha provocado en muchos países, al adaptar nuestro trabajo al modo ONLINE, hemos podido seguir trabajando con este centro y sus maravillosos alumnos.

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Flute Theater began its relationship with this school because of the collaboration of the students in the workshop that Kelly gave to the members of the Kompanyia Jove del Teatre Lliure. The eight members of the company worked with approximately 15 children from the center and did two workshops: The Tempest (2017) and Midsummer Night’s Dream (2018).

Watching one of these workshops was when I discovered Kelly’s project and her company. I was amazed at how magical and useful her work was, and that is where our relationship began.

Later, in the summer of 2019, Kelly gave a workshop in collaboration with the AADPC (Associació d’actors i directors de Catalunya) where she taught her work methodology to a group of 12 actors of which I was part. There we worked directly in the facilities of the Montserrat Montero center for a week with 20 children and we did a sample for their families at the end of the week. Some repeated because they had been part of those two workshops at the Teatre Liure and others it was the first time they played with Kelly. In both cases, the result was incredible, and the reaction of the families too.

Now, because of the exceptional situation that the covid-19 pandemic has caused in many countries, by adapting our work to ONLINE mode, we have been able to continue working with this center and its wonderful students.

 


Heartbeat Hellos become Batecs del cor Hola

There’s a school at the top of a hill outside Barcelona. To the west you can see the jags and peaks of Montserrat mountain and yellow mimosa fills your eyes and senses. This is a special school. Una Escuela Especial. So called because the children have special needs. But when I first arrived some years ago the ‘special’ hit me with a force of nature and every cell of my being wanted to return again and again whatever the odds. The special is the people. The teachers with their wide open hearts, souls and spirits – funny, welcoming and kind, hugging and kissing the children as if it were christmas every day. And the children having that as their normal. Their normal is special. And the games I’ve made – that require hands, bodies and souls to be in contact with each other – land with these people as naturally as the blossoms land on the soil of their hills. And every time I’ve been in this place, I’ve found new ways of seeing and listening and understanding how to communicate. A week ago, twenty children and eleven actors performed El somni d’una d’estiu to an audience of just over one hundred people in an ancient medieval hospital in Granollers. Light shone through the high windows and the children’s light of courage, humour and pride shone into all of us. The audience are mainly parents and grandparents and siblings and aunts and uncles and neighbours of the children – so full of love. Many of whom I recognise now as this is the third time I’ve made a performance with their children. And through our tears and our hugs it never feels real, it feels like a dream Like far off mountains turned into clouds… where everything seems double… and I am not sure I am awake… My thanks to Alex Casanovas, President of AADPC, for seeing what I do and believing in me. One person believing another is enough to create miracles.
Kelly Hunter June 2019

The Hunter Heartbeat games are created and developed by working directly with people with autism. Anna first played with us in 2017 and she’s still playing. When we first met her, she asked us to make her a ‘hugging game’ which we did the following year for our production of A Midsummer Night’s Dream. This game became our Cobweb and Bee game – which is also used to great effect in UCL’s scientific research – and is entirely thanks to Anna. Here she is on the very first day we met her.


Anna

“Anna had already participated in the Teatre Lliure workshops and also in the summer 2019 project. Kelly knows her a lot and the members of the Kompanyia too. Raquel, the actress with whom Anna worked during the three projects, knew perfectly how to treat her and thus better approach the exercises with her. Such was the connection that they have remained in close contact to this day. Anna used to go quite a bit on her own terms, talking when she wants, and it’s fascinating to see how as we’ve worked with her she has changed her behavior. We met her when she was a girl and now she has just turned 15 years old. It is exciting to see that, even now, doing the sessions Online, she responds with such autonomy and in fact, she continues doing and saying parts of the show by herself because all those games have remained in her memory.”
“Anna ya había participado en los Talleres del Teatre Lliure y también en el proyecto del verano de 2019. Kelly la conoce mucho y los integrantes de la Kompañia también. Raquel, la actriz con la que trabajó durante los 3 proyectos, conocía perfectamente cómo tratarla y así abordar mejor los ejercicios con ella. Tal fue la conexión que han seguido en contacto estrecho hasta día de hoy. Anna solía ir bastante a su aire, hablando cuando lo apetecía, y es fascinante ver cómo a mediada que hemos ido trabajando con ella ha cambiado su conducta. La conocimos que era una niña. Justo ahora acaba de cumplir 15 años. Es emocionante ver que, aún ahora, haciendo las sesiones Online, responde con tal autonomía y de hecho, sigue haciendo y diciendo partes del espectáculo por ella misma, pues todos esos juegos han quedado a en su memoria.”</em


Joan

“Joan también es de ese grupo que ha trabajado con Kelly en varios de estos proyectos, y eso se nota. Al igual que Anna, es un chico al que por la edad en la que está, lo conocimos de niño y ahora ya es todo un chico. Fue muy esperanzador ver cómo, después de casi dos años sin verlos, seguían respondiendo tan y tan bien a estas sesiones Online. Y más sabiendo que normalmente las sesiones Online son individuales, para poder captar bien la atención del niño, pero esta vez la hicimos para ocho chicos y chicas que interactuaban con nosotros a la vez, en una misma clase. Y después de dos años sin verlos y haciendo el espectáculo a través de una pantalla, a lo cual no están acostumbrados, Joan y el resto de chicos reaccionaron increíblemente.”
“Joan is also from that group that has worked with Kelly on several of these projects, and it’s easy to see. Like Anna, he is a boy who, because of his age, we knew him as a child and now he is quite a boy. It was very encouraging to see how, after almost two years without seeing them, they continued to respond so and so well to these Online sessions. And more knowing that normally Online sessions are individual, in order to capture well the child’s attention, but this time we did it for eight boys and girls who interacted with us at the same time, in the same class. And after two years without seeing them and doing the show through a screen, which they are not used to, Joan and the rest of the boys reacted incredibly. “


Adrià (petit)

“La experiencia que viví con Adrià es, probablemente, una de esas que recordaré toda la vida. Trabajamos con Adrià en el proyecto que hicimos en verano de 2019, la primera vez que yo trabajaba con Kelly. Uno de los dos niños con los que yo trabajaba era Adrià. Él tenía un espectro bastante alto. Difícilmente te miraba a los ojos y no hablaba. Así que, durante toda la semana, nadie le escuchamos la voz. Lo sorprendente fue que el viernes por la tarde, en la última sesión de trabajo antes de la muestra que íbamos a hacer el sábado, Adrià, mientras estábamos haciendo uno de los juegos del espectáculo, en que Demetrio le dice a Helena que la ama, empezó a decir, repetidamente y con voz clara: ¡te quiero, te quiero, te quiero! Fue un momento que recordaré siempre. Yo y, seguramente, todos mis compañeros. Al día siguiente, durante el espectáculo con las familias, Adrià volvió a repetir lo mismo en el mismo ejercicio y con las mismas palabras. Verle a él sonreír, disfrutar y hablar, fue increíble. Y ver la emoción de sus padres por lo que estaba pasando, aún más. Esta es la verdadera magia del trabajo de Flute Theatre.

“The experience that I lived with Adrià is probably one of those that I will remember all my life. We worked with Adrià on the project we did in summer 2019, the first time that I was working with Kelly. One of the two children I worked with was Adrià. He had a high spectrum. He hardly looked you in the eyes and he didn’t speak. So, throughout the week, no one listened to his voice. The surprising thing was that on Friday afternoon, in the last work session before the show that we were going to do on Saturday, Adrià, while we were doing one of the games of the show, in which Demetrio tells Helena that he loves her, he began to say, repeatedly and in a clear voice: I love you, I love you, I love you! It was a moment that I will always remember. Me and, surely, all my colleagues. The next day, during the show with the families, Adrià repeated the same thing again in the same exercise and with the same words. Seeing him smile, enjoy and talk, it was incredible. And to see the emotion of his parents for what he was going through, even more. This is the true magic of Flute Theater work.”

 


First days with children and La Kompanyia actors in 2017 – Playing games of the Tempest


El somni d’una d’estiu- at Sala Francesc Tarafa, Granollers


A Midsummer Night’s Dream Online – February 2021