I was commissioned to translate another Hungarian folktale text, so I'm putting it up as a resource too.
The Flame-Red Fairy KingTuesday, July 26, 2022
The Flame-Red Fairy King: a short and weird Hungarian folktale translation
Storytelling Cities: Return to the Story Marathon
After the formalities were done, we gathered on the terrace of a restaurant, having a drink before dinner. From there, we could see the open-air exhibit of all the posters of the past 30 Marathons (see the pictures above). This is where I finally felt like I have arrived: after ten years, I was in Guadalajara once again. It made me giddy.
Friday morning we had another rehearsal. Pepito wanted us to rehearse in the afternoon as well, but we gave him the puppy dog eyes until he gave us the rest of the day. At five, we went to the palace courtyard to witness the opening ceremonies. The Marathon was opened by the Mayor himself, who delivered a short speech, and then told a Ukrainian fairy tale. Entirely by heart, like a real storyteller (with the Ukrainian name of the hero written on his palm, just in case, which I think was adorable). It was the perfect opening. He was followed by various school groups on stage, equally lovely.
After a while, with the Marathon up and running, we walked out of the palace to browse books at the marketplace (yes, I bought quite a few). From there, we headed out to have a drink of lemonade, and then moved on to the courtyard of a local school for the evening "Unheard Storytellers" show, where new performers are introduced every year. It was Susana's idea, and it was a good one. Not only because we heard amazing storytellers (among them my personal favorite was Sandra Rossi), but also because most of the Marathon's tellers were in the audience, checking out the newcomers. The mood was friendly and familiar.
(Spanish organizations have left FEST a few years ago, and I have missed them sorely ever since. I loved meeting Spanish tellers at conferences, and I finally got the chance to hang out with them again. Guadalajara, during the Marathon, is home to us all: storytellers are walking the streets, sitting in the cafes, lingering in the doorways, always steeped in excited conversation. I love it.)
Saturday morning we had one very last rehearsal at the theater. After that, I had time to run to the bookstore and buy more books, and then we decided to sit in on the theater shows before our own. They were all full house, and they were totally worth it. My favorite was Eugenia Manzanera's performance, who was witty, funny, and entirely enchanting.
While the last (musical) show was happening on stage, we all moved backstage to get ready. We were excited and a bit nervous - but our performance went really well. The audience was lovely. No one can wish for a better audience than a full house in Guadalajara: they applaud, they cheer, they laugh, they sing along with us, they answer every question. While we were on stage, I kept thinking we should have put more interaction into our show. This would have been the perfect audience to play with.
Our show started at nine in the evening, and we left the theater around eleven, in a very good mood: laughing, singing, accepting many warm congratulations. And this was not the end of the day yet: after a lovely dinner at the library, we headed over to the palace once again, for nighttime storytelling on the Marathon's main stage. For me, this was the hardest part of the festival: I usually go to bed around 10pm. This time, I was on stage, telling in Spanish, at 2am. Now I know I can tell in Spanish even when I am half asleep... But it was worth it. The Guadalajara audience, even after midnight, was cheerful, friendly, and surprisingly alert. I loved playing with them.
After passing out late at night, we only had one last day to go. In the morning we gathered in a conference room in the palace for a round table discussion. The audience was made up of some very sleepy storytellers, but we have a lovely conversation about our experiences, the project, and storytelling in general. This was what closed the festival for us. Those of us who were not heading straight to the airport went back to bed in the afternoon. In the evening, we gathered one last time for dinner, drinks, and conversation.
It was incredible to be in Guadalajara once again, after ten years. It's one of my favorite storytelling festivals in the world. I immersed myself in stories, in the company of fellow storytellers, and the beauty of the Spanish language. I was absolutely privileged to participate in the performance project, and work with a great group of tellers under Pepito's direction. I was proud of the show we got to bring to the stage in Guadalajara. I hope I won't wait another ten years before returning...
Monday, July 25, 2022
Storytelling Cities: 8 storytellers, 6 countries, 3 weeks, 1 show
This spring I participated in an incredible European storytelling project.
I traveled to Sigüenza, Spain, on May 26th to take part in a project organized by Spain, Italy, France, and Slovakia. These four countries have created a collaboration named the European Network of Storytelling Sites and Towns (ENST). Since Spain was represented by the same organization that also organizes the Maratón de Cuentos in Guadalajara, part of the network's inauguration was a project within a project: getting storytellers together from all the countries and creating a multicultural, multilingual stage performance for the Maratón.
Each country delegated tellers. I was invited along by Bohdan Ulasin from Slovakia, whom I met in Guadalajra at the Misterios de Europa conference ten years ago. The lineup of our colorful team was as follows: Pepito Matéo (France), Clara Zénoun (France), Julien Tauber (France), António Fontinha (Portugal), Bohdan Ulasin (Slovakia), Roberto Anglisani (Italy), Susana Tornero (Spain), and yours truly (Hungary). Seven of us participated in the performance, and Pepito took on the role of director.
We had two weeks to put the entire show together. As soon as I stumbled into the hotel on May 26th, we immediately headed to the theater to start rehearsing. We worked hard all day almost every day, until June 8th, when we had our premiere in Sigüenza. The next day, we packed up, and headed to Guadalajara for the Maratón, to prepare for the big show.
We had rehearsal from 10 in the morning till 2pm every day, had lunch, and then started again at 4pm. We usually finished work around 8 in the evening (and headed to the town square for drinks and conversation). We played drama games and warm-up exercises in the mornings, and then launched into working on the performance. In two weeks, we created a 90 minute long storytelling show. The first half of it featured individual tales. We opened with a song, and proverbs in many languages, before we started on the storytelling. I told the old Hungarian legend Golden Bridge, Silver Bridge; Julien told the legend of The City of Ys. Roberto brought us a story by Gianni Rodari about roads not taken, Susana a Catalan version of the Musicians of Bremen, and Bohdan the story of legendary Slovak highwayman Janosik. Clara told the Armenian tale of Queen Anait, and Antonio brought us a lovely Portuguese version of The boy who could speak the language of animals. After the individual tales, we told some stories together, mixing multiple languages. We did Stone Soup (with each ingredient in a different language), Sennin (a literary tale by Akutagawa Ryunosuke), and the legend of the Journey of Malei from the Zhuang people. We closed the show with folk songs in all our various languages.
It took very intensive work to craft the show and create a flowing performance. It is not easy at all for storytellers to work together in this many languages, with this many different styles. We negotiated and compromised, and found creative solutions to fitting all the pieces together. Sometimes we grew tired, and sometimes we ran into communication barriers, but in the end, we all enjoyed the experience way too much to get hung up on the technicalities. It was something that allowed me (us) to experiment with different styles and techniques of telling. For example, I have never told a story before to empty chairs this many times... but after the initial discomfort of speaking into the void, I was beginning to see the upside of repeated rehearsals. The good news is: this project is a great experiment, and it is not over yet! We will take the show on the road to France, Slovakia, and Italy, changing things around every time to fit the new languages and new audiences.
We premiered the show in Sigüenza, in front of a very appreciative local audience - many of whom we got to know over the course of the two weeks spent in that lovely city. Among them were Fernando and Mirta, our gracious and lovely hosts from La Casona de Lucía - honestly the best little hotel I have ever stayed in, with definitely the best food. But they were not the only ones we got to spend time with while in Sigüenza: we also told some stories in other places!
One of those places was a center for refugees hosted by an organization named Accem. It was a lovely experience. We told some tales, and the people living there also told us some of the stories from their countries (such as Afghanistan and Burkina Faso). Then we had dinner together, someone put on music, and the whole evening turned into one big party, where we all danced and laughed together. Many of the children and adults from out audience later came to the premiere too - and whenever we met on the streets of Sigüenza, we always exchanged happy smiles.