08.06.2013 Daily Treff

DAILY TREFF Saturday 8 June 2013

TALLINN TREFF FESTIVAL

06.06.–08.06.2013 Culture saves the world!

In Treff shirts got a wet after all FEATURE Matija Solce - fighting with stereotypes

REVIEW Joley actors from Viljandi

NEWS Jury shares its emotions

www.nuku.ee/festival

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News

08/06/2013

Members of NEECPA met at the festival Members of the Norhern and Eastern European Centre of Puppet Arts, active for a little over a year, got together at Treff and, among other things, made changes to their statute.

According to Vahur Keller, Artistic Director of the festival, the initial statute was largely improvised just to have something solid and by now experience had shown that the document needed specifying. “Since there aren’t many similar organizations, even lawyers were struggling to answer many of our questions. Creating the new statute was extremely complicated,” he said.

According to Keller, the Northern and Eastern European Centre of Puppet Arts is a network, the primary objective of which is the exchange of experience, growing through that and becoming more visible to the world. Up until now, there has been more intensive cooperation, for example, with Slovenia, whose puppet culture Keller considers more advanced than that of our own. “At the same time, we have some skills that others do not,” he thinks.

Despite the fact that the name refers to Northern and Eastern Europe, Keller says that NEECPA’s geographical boundaries aren’t that fixed, and that it is more important that the members are able to contribute to the development of the organization themselves as well.

Annika Andresen

The jury anounce their opinion tongiht

FOTO: TAAVI INTS

The jury: it is difficult to find highlights Daily Treff interviewed the jury to get to know what their impressions of the festival have been so far.

This year’s jury consists of four people having full knowledge of theatre: Tatiana Priyatkina (Art Director of Skorohod multifunctional venue for theatre), Alexander Vainshtein (Development Director of Skorohod multifunctional venue for theatre), Eva Klemets (actress and director of Theatre NO99) and Anders Härm (curator and Board Member of the Museum of Contemporary Art of Estonia).

Organising festivals has changed NUKU theatre in a very positive way. There are a lot of foreign directors staging plays at NUKU, and Estonian puppeteers are participating as actors as well as directors in projects taking place in other countries which, according to Anders Härm, was not the case ten years ago. He adds that development concerning Estonian puppetry is still possible, especially when taking into account the fact that, compared to some other countries like France or Russia, we do not have a long tradition of puppetry. Eva Klemets also confirms that great developments at NUKU that have been boosted by festivals.

No fixed criteria Anders Härm sees the jury as a set of professional theatre watchers, whose mission is to watch as much theatre performances as possible in order to give feedback to the performers afterwards. Since the jury is of very different background, they also have different opinions about what they see, which in turn results in relevant discussions. The jury does not have a fixed criteria on what should be taken into account when deciding who are the seven lucky ones to be awarded. The most important thing is simply that the performance works. Tatiana Priyatkina adds that they also observe the reaction of the audience, especially in case of the plays meant for children, giving necessary information to the jury to form their own opinion. Eva Klemets hopes they can reject their personal taste in the decision-making process.

Time to work details Alexander Vainshtein finds site-specific puppet theatre as something new and impressive.

Puppet theatre performances are usually performed at black box theatre halls with poor lightning, or on the streets where the only light is the sun. The festival proved that there are other options. He hopes that the inventiveness of Estonian artists will become even more dynamic and that the following festivals would thus be even more interesting.

Anders Härm points out that since all the programmes of the festival are presented as equally important, it is difficult to find the highlights. Especially for the regular theatre audience who wishes to see only a handful of performances, not the whole programme. On the whole, the development and diversity of the festival is a good thing and culture cannot be isolated or

LIISA POOL

clearly delineated. Quantity has been achieved, it is now time to work on its details. Other members of the jury would also like there to be more definite criteria when putting together the programme.

Compenting events Eva Klements mentions that a very positive aspect is that foreign performers stay at the festival from beginning to the end. Other countries are often visited merely to give a performance, which means that the performers cannot see many works by others. At Treff, it is the other way around.

It was also found that there are too many competing events as Treff takes place each year at the same with Tallinn Old Town Days. Perhaps that is one of the reasons why the festival programme seems to be too wide-ranging? Perhaps Treff could take place at another time?

Anders Härm admits that in addition to the events taking place at the Town Hall Square that are competing for the audience with the festival performances, noise from the other events can be heared while Treff ’s performances are given on the street. It is quite an effort for the actors to play on the street as there they may be vulnerable about everything and have more trouble to make themselves heard than they do when the performance takes place indoors.

The results of the Jury’s Laboratory will be announced already tonight. Until then, the jury will give no further comments about their impressions.

News

08/06/2013

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Cinderella challenges children’s imagination Today at 11.00 and 13.00 in the Oval Hall of the Estonian State Puppet Theatre, Shona Reppe from Scotland will bring to the audience a darker but popular version of a familiar fairy-tale Cinderella.

ANNIKA ANDRESEN While in some versions Cinderella’s carriage turns into a pumpkin and the horses back into mice at midnight, Shona Reppe does not employ such tricks. The whole event takes place in Cinderella’s home and the girl will not go to the ball, for she was not invited. “I tell the darker story,” Reppe commented.

The show does not lack the evil stepsisters, the stepmother or the prince, but they are presented in a much different form than people are used to. Only one actor and one puppet will step up – that is the main character Cinderella. The rest of the roles have been solved by using other materials or sounds and that is why it can be said that the performance will challenge the viewers’ imagination.

Thom Didbin, who has reviewed Cinderella, considers it a spectacle for different generations. “It gives the young audience some leeway

Darker Cindrella story to use their imagination and offers excitement to every adult that is also ready to imagine,” he wrote.

At the same time, the puppeteer’s masterful yet gently goofy twists in the plot of the fairy-tale will keep the audience’s attention fixed on the stage.

The production has won several awards, and another thing that signals its popularity is the fact that Shona Reppe has performed

FOTO: WWW.SHONAREPPE.CO.UK

Cinderella in her theatre since 2002. Reppe says that the performance has become her firm favourite and is still in high demand.

“I still enjoy performing it and if that ends, I will stop performing it,” she promised.

The viewing of the show, which is in English, has been made easier for the audience with a synchronic translation to Estonian. Reppe says that the play is

best suited for families and for viewers over five years of age.

Understanding the show may prove more difficult for younger viewers.

Tallinn TREFF Festival is bringing Shona Reppe to Estonia for the first time in her life. She hopes to have fun with the local audience.

Reppe is excited and hopes that the Estonian audience will be excited as well.

The limitations imposed by a wheelchair give rise to two kinds of emotions in people Just like yesterday, today the audience has the chance to enjoy the play Barriers, in which a man is trying to experience happenings in town through a puppet in a wheelchair.

ELERIN KEERUS

Barriers is a play where a wheelchair-bound man’s accompanist’s, a puppet’s, actions can be observed, or the actions of the wheelchair-bound man, whose accompanist is a puppet. According to the author Ińaki Mata, these two characters have been together for a long time, shared many an experience and emotion. Barriers is a search. The puppet is a living companion to a real human and at the

Children meeting the barrier same time this human brings the puppet to life.

The play has been performed in different countries, but the stage director and actor Ińaki Mata says that in certain situations people react similarly. Some

FOTO: TAAVI INTS

people laugh, others cry, some come close, others walk away. It is a play that leaves no one cold.

According to the author, the real main protagonist of Barriers is the audience, not the character in the wheelchair or the puppet.

Mata adds that each show feels like performing the play for the first time for him. Going to the performance, he does not know whom he will meet and what will be happening. It is a travelling play, which is new every time, and invites the audience to contemplate different topics.

The author of the idea, stage director and actor Ińaki Mata is from Basque Country and began his theatre career in 1987. During his career he has worked with many Basque Country theatre troupes, carried out puppet-making courses and conferences in Basque country, Spain and Central America. In 2007 he became independent under his own name to create stage plays based on his research projects, among which is also Barriers.

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Feature

08/06/2013

Matija Solce discuss about vital questions of theatre

FOTO: TAAVI INTS

Matija Solce: you can’t say that puppet goes to prison Matija Solce is musician, puppeteer, actor workshop organiser and mentor from Slovenia. In TREFF festival he is as an author and director of “Little Salamander Goes Across The Road”.

ELEKRIN KEERUS Talk about yourself a little, please. Which are the basic things you are working with?

I came here with Ljubljana Puppet Theatre, because I am director the show. But otherwise I am freelance puppeteer and playing music also. I’m studing doctor in Prague Theatre Academy. It’s combining both music and puppets, so this always my topic to make dramaturgy and to make all the sense on the logic out from the music.

I’m organizing the Histeria festival. The festival is halfly the music, halfly the other arts

and we make like a fusion of the everything in the end. With that festival we are trying to activite people and to make them thinking in different and more creative way. I think it is more than festival where you come and sit and watch. We’re trying to make it as much natural as possible.

We not make stages, that not fit in the nature, we just use what we have - stones, trees, bushes.

Mainly just nature is our background and it is supporting us. This year there will be also important part of it the theater which working with the political and social situation. I think people got to be little bit more awake about what is happening around them.

In Estonia, puppet theatre is usually seen as a theatre for children. Why adults should go to see and discover this kind of theatre?

It is everywhere kind of similar situation. Maybe there are like some little theatres that are making difference but otherwise generally puppet theater is the children theatre and dramatheatre is classical-based. But i think the theater should be like a not puppet or not classical . There should be all one kind of form. I think the theatre is like illusion and that’s it. I don’t call it puppet, i don’t call it object, i don’t call it classic or anything. You come to see the illusion and you are watching something on the stage. You see me to showing emotions, suddelny you hear music or you move and you feel differently. It doesn’t matter for me. For me it’s important where you put the focus. I don’t even want to call it puppet theatre, because puppet has much deeper meaning that just a figure.

I would say the theatre is theatre. It’s pressure today get out from the frame of being so

much for children or naive or opposite being so serious and so classical.

We could dust off these stereotypes and change termin to something to bring a theatre again to the social. Because now the theatre has marginalized, it’s not like a thing of the social circles. I think it should be, as music, thing that happens in small circles in people’s homes and people should talk and think about it and it should make the people think.

My concept is that you should be as close as possible to the people without any defence. Make people think about something, not put them everything on the plate.

May I would also call theater impulse beacause it’s about impulses and this is coming from the rythm that is music. It is like any impulse you get. You can get the sound, the flesh on the light, a joke, everything can

Feature

08/06/2013 be a impulse to people to make them awake.

I think puppet theatre is stereotyped and I’m trying to get rid of because I have to play my shows for the children all the time and these are very ironical and it’s hard to play for children.

If the public is mixed, i think my shows are work, because they are based not on the context, but on the impulses, on the musical logic.

Keller: There are performers I dream about bringing to Treff

How much do you know about estonian puppet theatre?

I don’t know so much about it.

It is quite big interest for puppets here and people are proud of it.

You should use the enthusiasm the people have here.

I think we should learn something in this way in Slovenia, because i think we are kind of trying to hide puppetry just for children. We are still behaving as puppetry is something not really an art, just like form of entertainment. But this is totally opposite, puppetry has the most possibilities to make people think, you can play it anywhere, you can play it however you want. And you can not be judged because you are doing puppetry. You can’t say that puppet goes to prison.

The last day of Treff has arrived. What was the festival like this year?

This year’s festival has been one of the best I’ve been involved in. Thinking about the performances in succession, about how they have turned out and how the audience has reacted, makes me feel great. For example, Small Circus was performed at Köismäe tower yesterday and people eventually stood up, applauded for a long time and went to ask for autographs. Grown-ups cheer like children, and such an emotion is so awesome. Everything’s gone upwards for two days in a row and hopefully it’ll be so on the last day as well.

This doesn’t only go for performances, but for example, the festival club is buzzing until

How are your emotions about Treff festival?

I just came yesterday night.

I love Tallinn, because i was here because of music and other things. I was very exited to come back and i’m still very exited. I look forward to play shows also.

Just keep on going so well as you did for now with TREFF festival. I’m happy that it is also getting connection with Ljubljana.

Little Salamander across the road today 16:00, 17:30 and 19:00 (Heaven Stage of Tallinn City Theatre) The aim of the dramatized poetry is to encourage the viewers to indulge in wonder as well as to soften, cheer up and rock themselves into the simple rhythms of his verses. This poetic and puppet collage takes its viewers to the world of sensory, musical and imaginative theatre.

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On the last day of the festival, Daily Treff offers a brief interview with Vahur Keller, Artistic Director of the festival, in order to recall what has happened and to contemplate the future.

TAAVI EILAT

Treff makes Keller dream even bigger

very late and that definitely means that a new type of club has been acknowledged. Great programme and well organised.

No one has doubts about Treff coming back. The question is, however, what should be changed and achieved in the future?

It would be great to have some performers here that I’ve dreamt about for quite some time now, but whose schedule is extremely hectic. There are some companies from Canada, the Netherlands and Germany that I’ve thought about and contacted with, but unfortunately I haven’t been able to bring them here yet.

Treff ’s financial matters usually become clear so late that it has been extremely difficult to get them here. Since it seems that more and more city people are visiting Treff this year, buying festival passes and coming from Estonia as well, we could invite performers asking bigger fees. So far, some performers have been kept in the dark about whether we have enough money to pay them or not. There are performers who cannot come when that’s the state of affairs.

All in all, there are performers I dream about. The festival’s quality is good even at present, but I’d like to grow it more bigger.

One has to set sights even higher.

Today Saturday, 08.06.

I think:

11.00

CINDERELLA

Shona Reppe Puppets

GBR

puppetry

children 5+

50’

NUKU’s Oval Hall

12.00

SMALL CIRCUS

Company Oisiveraie

FRA

object and music theatre

adults

30’

Köismäe Tower

12.00

DRAGON ON THE LOOSE!

NUKU Theatre

EST

street theatre/ puppetry

whole family

40’

starts from NUKU’s Steam Theatre; mobile

12.00

GRAB

Dreek Studio

EST

performance art

whole family

30’

starts from Goat Stage; mobile

12.00

FUNNY WALK

Tallinn Kanutiaia Youth House modern dance and theatre studio Dreek

EST

performance art

whole family

2h

Streets of the Old Town; mobile

12.00

ATOMIC’S ADVENTURES

Dance studio Stage Hole

EST

dance

whole family

30’

Courtyard of the Children’s Literature Centre

20’

Courtyard of the Museum of Applied Arts and Design

12.00

ALICE IN WONDERLAND

Free Flow Studio

EST

dance

whole family

12.00

TOGETHER

Choregraphy Department of Tallinn University / The Space of Variations

EST

dance

youth/adults

20’

Börsi Passage

12.15

SHORT STORIES WITHOUT WORDS

Company Alinéa

FRA

puppetry

adults

1 h 15’

Goat Stage

12.20

THE GHOST OF THE BOX

Fashionable Puppeteers

FIN

street theatre/ puppetry

whole family

15’

NUKU’s Steam Theatre

12.30

HERO

Uru Youth Theatre

EST

drama

youth

45’

Courtyard of the Museum of Natural History

12.45

TWO SUNS

Culture Academy of Tartu University

EST

drama

children 7+

45’

Hall of the Children’s Literature Centre

13.00

CINDERELLA

Shona Reppe Puppets

GBR

puppetry

children 5+

50’

NUKU’s Oval Hall

13.00

BARRIERS

Iñaki Mata

ES

street theatre/ puppetry

youth/adults

35’

Liberty Square

13.00

OLD DON JUAN

Studio of the Bare Hands’ Theatre

FRA

puppetry

whole family

3x10’

NUKU’s Steam Theatre

13.00

YOU ARE BEING WATCHED

Street Duet of the NUKU Theatre

EST

street thteatre

youth/adults

30’

starts from NUKU’s Staff Entrance; mobile

13.45

ÜBER

Drama class of Kunda Secondary School

EST

drama

youth

30’

Courtyard of the Museum of Natural History

whole family

40’

starts from NUKU’s Steam Theatre; mobile

youth/adults

25’

Courtyard of the Museum of Applied Arts and Design

13.30

DRAGON ON THE LOOSE!

NUKU Theatre

EST

street theatre/ puppetry

13.45

GREEN

Kalli Pikas, flamenco dance studio Duende and violin trio Midrid

EST

dance

13.50

WHERE ARE YOU, LISA?

Russian Theatre School

EST

dance theatre

whole family

30’

Goat Stage

14.00

GRAB

Dreek Studio

EST

performance art

whole family

30’

Streets of the Old Town; mobile

14.00

THREE FAT MEN

Culture Academy of Tartu University

EST

drama

children 5+

45’

Courtyard of the Children’s Literature Centre

15.30

BROUGHT BY THE WIND

Yaroslavl State Theatre Institute

RUS

mask theatre/ puppetry

children 7+

35’

Town Hall Square

15.30

TALES FROM THE TAIL END

Culture Academy of Tartu University

EST

drama

children 4+

40’

Courtyard of the Children’s Literature Centre

16.00

CARNIVAL

Theatre Giraffe Royal

EST

pantomime/dance

adults

1 h 20’

NUKU’s Small Hall

16.00

SMALL CIRCUS

Company Oisiveraie

FRA

object and music theatre

adults

30’

Köismäe Tower

16.00

HOLE

Ljubljana Puppet Theatre

SLO

visual theatre/ puppetry

adults

1h

Heaven Stage of Tallinn City Theatre

16.00

BARRIERS

Iñaki Mata

ES

street theatre/ puppetry

youth/adults

35’

Liberty Square

18.00

IT’S COLD

NUKU’s Youth Studio

EST

drama/puppetry

youth

50’

NUKU’ Oval Hall

19.00

HOLE

Ljubljana Puppet Theatre

SLO

visual theatre/ puppetry

adults

1h

Heaven Stage of Tallinn City Theatre

19.00

SIDDHARTHA

Goltsman Ballet

EST

dance

youth/adults

1 h 30’

Auditorium of KUMU Art Museum

21.00

CLOSING CEREMONY of the TALLINN TREFF FESTIVAL

NUKU’s Small Hall

Tallinn Treff Festival 2013 | 4

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Review

08/06/2013

Theatre students help bring jolly stories to life from inside a picture Stories from Inside the Picture is a clever and merry children’s performance by the tenth class of Viljandi Culture Academy, from which theatregoers of all ages can draw inspiration and cheerfulness.

TRIINU SIKK “Hi!” a young man on the stage begins. The audience replies with a hesitant “hello”, which, after a bit of encouragement, grows bigger and bigger until finally everyone is shouting together. The students of Viljandi have the audience in the palm of their hand right from the first few minutes, and take them to visit a world of colourful pictures by telling stories. After the traditional beginning to a children’s performance – getting to know the audience – the viewers are drawn into the humour-filled world of the stories of Russian absurdist classic Daniil Kharms.

The little children in the front rows appear to be a bit startled at first, gazing on in wonderment.

Who are these merry, grinning 17 young people in front of us? The students of Viljandi beat drums, sing and dance, do somersaults and tell jolly stories that everyone can understand. They crouch down lower, look the children reassuringly in the eye and smile sin-

A boat is on the way

cerely. The stories told are listened and reacted to with sympathy, with everyone being sad or joyful together.

The merry tales of big people and little people and of peculiar animals fuel the fantasies of both the actors and the audience. How do rolling people become a river, or a person on your back a tower?

How can you make forest sounds with your own mouth? The inge-

nuity of the young does not fail to astonish even the older members of the audience and proves once again that in order to produce a successful children’s performance, you do not need whole metres of elaborate costumes, make-up and props. Even a minimal space can be given life and stories can be told convincingly using only your own body. The result is all the more impressive. The theatre

FOTO: MARIS NAKSTRÖM

students create their own sound effects, form objects and buildings with their bodies, and give every animal character a unique personality.

Moving back to the streets to enjoy the festival or continue your activities after this boost of energy will make you want to hum along to the melodies heard in the performance with a genuine smile on your face.

Four seasons with Morrison in a beautiful miniature world Mini Theatre from Slovenia has brought a piece of a small boy’s dream world to Treff.

KRISTI RUUSNA The audience witnessed Morrison’s playful dream about the change of seasons in which he meets a vintager of autumn, an icy man of winter, energetic man of spring, and finally a cheerful maiden of summer. All of them were his companions on the journey through miraculous surroundings where all seasons pass unnoticed, just like in real life.

The theatrical performance was accompanied by mild and mystical music which added more dynamics to the action and created the right atmosphere. It was a privilege in

Morrison and Summer dream ends with the show itself to become part of Morrison’s dream world. Although the verbal part of the performance was in Slovenian, which probably resulted in going in one ear and out the other for most people, the message of the performance nevertheless remained understood. Every season was captivating in its own way, represented by coincidental encounters brought along by each of them. The encounters reflect upon the topics of straightforward-

ness towards differences, friendly and open-minded attitude about everything new and interesting.

Nothing stands in Morrison’s way when he goes sledding with the old man, or goes on a swing with the maiden of summer, adorns the trees with leaves with the man of spring, or harvests grapes with the man of autumn. Morrison, while being a puppet, is the embodiment of the positive side of childishness.

He sees and appreciates light and

shade in beauty, thus making the most of his experience.

To express gratitude for the time spent together, every character the kid meets gives him a piece of a key, which could open the door to Morrison’s adventures long after the curtain falls. Like the performance artists mentioned at the end of the performance, we can live in hope that in future, Morrison will visit the audience in their dreams.

The world created on stage was memorable in its abundance of detail as well as in its faded and worn out style. It probably left a mark on everyone, through which Morrison could recognise a familiar face who has already shared one of his dreams. I am certainly exited – where I could travel with Morrison and which worlds he could show me.

Review

08/06/2013

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Shakespeare under laboratory conditions The performance “Shakespaeare’s Laboratory” does largely away with at least the seeming classicality as the characters are allowed the freedom of a different kind of speech on stage.

The laboratory of the Bolshoy Puppet Theatre of St. Petersburg features such characters from various Shakespeare plays as Lady Macbeth, Othello, King Lear, Romeo and Juliet, etc.

ELERIN KEERUS During the performance, fragments of many different plays visit the stage. Thus we have both scenes with clichéd plots as well as less known parts. The characters have taken form through the various tools of visual theatre.

In addition to the familiar characters of the plays, the arch-nemesis of the protagonists of Shakespeare’s tragedies – fate – has been given a visual form as well. On the one hand, his role is traditional – making decisions about the beginnings and ends of the scenes of the performance. On the other hand, he manages to get in on the action in one scene. His role there is far from traditional, as he has to put up with someone else’s blind decisions and not too deferential behaviour. Are we even dealing with fate in both cases, or is the laboratory trying to say that characters should be allowed a freedom of action without any guiding forces?

A severe conflict The characters are given different forms and opportunities for independent action, but does this actually change anything? The relationship between the families of Romeo and Juliet is still complicated. Conflicts are not prevented from arising and at one point things turn violent. No one is poisoned this time, though, as the instigator of these severe conflicts is a magnet. It turns out, however, that the two parties involved are the ones that make these conflicts severe. The end result is still traditionally bloody, with many casu-

Nobody was poisoned in the show alties. What’s happening on the stage proves to us that the tragic ending of the love story of Romeo and Juliet can even be enacted with pins.

Although the stories successfully reach the audience thanks to different everyday objects, puppets are not absent from the stage either. King Lear, for example, has come alive as a life-size puppet. His daughters are still at the centre of his actions. Their personalities and essence, however, are contained in hats. The thoughts of the daughters reach the father as well as the audience through the actress wear-

ing these hats. King Lear, however, remains a puppet on stage, changing hands between the daughters, and the consequences of misunderstandings, secrecy and personal gain remain the same as they have always been in this tragedy.

Puppet games Lady Macbeth, who manages to pull and break fragile strings during the performance, also ends up with a puppet as her companion.

Trying to make this companion act according to her own likes, she manages to even break the little

FOTO: ANNI NÕPS

that she did have into pieces – this time in the literal sense of the word.

Thanks to the laboratory, the audience was presented with captivating and varied visual theatre.

Shakespeare’s characters were given new forms as well as a chance to act on their own, with their relationships with destiny differing from the usual. Even in laboratory conditions, however, the characters remained as they have always been in their ideas and deeper nature. In the end, the stages saw the presentation of classical stories, but in a new and exciting visual form.

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Practise some Estonian!

08/06/2013

Vabandus! Üleeilses lehes ilmus väärinformatsioon loo ”Keskkondlik Treff muutub väiksemaks, aga kvaliteetsemaks” foto juures. Nimelt ütles fotoallkiri, et pildi autor on Georg-Sander Männik, kuid nii see ei ole, sest tegelikult on Georg-Sander Männik koos Vahur Kelleriga hoopis fotol jalutamas.

Täna vabandame aga selle eest, et me ei suutnud varem välja selgitada, kes oli tegelikult foto autor. Selleks oli Kadri Kalda. Vabandame südamest preili Kalda ees. Samas ei tohiks jätta mainimata ka Männikut, sest tema oli inimene, kes fotot töötles ja sellega preili Kalda palvet täitis. Valesti nimetamise tõttu vabandame südamest härra Männiku ees. Vabandame siis nii preili Kalda kui ka härra Männiku ees.

Eilses esimeses viiekümnes trükitud lehes oli eksitav informatsioon loos “Brice Coupey: nukuteater on omaette kujuteldav maailm”. Mainitud viiekümnes lehes oli eesnimi Brice lohakusvea tõttu saanud nimeks Brian.

Trefi Teataja toimetus märkas viga aegsasti ja parandas selle järgnevalt trükitud lehtedes ning tegi käsitsi parandused vigastesse lehtedesse. Me mööname, et korvamatu maine kahju on härra Coupeyle tekitatud ja palume selle eest südamest vabandust.

Palume vabandust eile ilmunud „Morrison ja neli aastaaega“ tutvustava artikli juures olnud pildi eksitava allkirja tõttu. Nimelt väitis pildi all olev tekst, et Morrisoni ja Suve suhe lõppeb Sügise saabumisega, aga tegelikult läksid nende teed lahku hoopis etenduse lõpuga. Palume väga vabandust!

Festivali klubis oli iga päev lahe pidu - selleks, et natuke istuda, pidi seisma pikalt järjekorras. Sabatants.

Vabandus!

Vabandame, et üleval asuva pildiallkiri on nii pikk ja seetõttu ei mahu ära fotograafi nimi, kelleks oli Urmas Mand. Vabandust, härra Mand!

Luuletus

Eilses lehes kaja saanud Vahur Kelleri ilmateade ei pidanud paika.

Ajalehe viimasel leheküljel esitatud tsitaat „Iga-aastane kokkulepe püsib: ilm tuleb ikka ilus ja läheb aina paremaks.“ oli tehnilise rikke tõttu eksitav.

Kelleri sõnul lubas Ilmataat lepingu rikkumise suve jooksul kompenseerida ja sel korral lahendati asi kohtuväliselt. Palume vabandust kõigi vihmavarjuta treffajate ees.

Oo Treff, oo Treff,

miks pole nii kehv?

Samuti peab Trefi Teataja vabandama Kristi Ruusna ees, kes tegi lehe heaks ennasthävitavat tööd, kuid kelle nimi ilmub esimest korda toimetuse nimekirjas alles täna. Vabandame, preili Ruusna!

Lisaks vabandab festivali meeskond eksitava mulje eest, justkui päästaks kultuur maailma. Eile sai tiim aru, et see ikkagi nii ei ole.

Avalda arvamust, mis päästaks maailma leheküljel 5.

Sa oled nii lahe, eelmisega sees täitsa vahe.

- õpeta see lulla omal vasakul seisvale külalisele selgeks. Lõpetamisel peavad seda värssi kõik kooris esitama.

FESTIVALI KLUBI AJAKAVA

22.00–23.00

Nüüd on asi selge. Kohtume järminge aasta

23.00–01.00

21.20 22.00

05.06

Ilm

NUKU teatri bänd JDM

Festivali klubi

“Iga-aastane kokkulepe ilm tuleb DJ-d Rasmus Kaljujärv, Gert Raudsep ja Johann Kolmtuhat püsib: NUKU fuajee ikka ilus ja läheb aina paremaks.”

06.06.

Vokaalansambel Chillin

Festivali klubi - Vahur Keller, Trefi kunstiline juht Trio Johanson-Sillaots-Aimla; ansambel Squeezed Lemon Festivali klubi and Teabags

TALLINN TREFF FESTIVAL 24.–27.05.

23.00–01.00

DJ-d Katariina Tamm, Liisa Kivi, Kaisa Selde ja Mart Müürisepp

NUKU fuajee

07.06.

TREFI KLUBI LÄHEB KRAHLI

20.00–23.00

DJ-d Krahli õues

23.00

Ansambel Fankadeelik All Stars

Von Krahli teatri baar

Palju kultuure, üks keel!

DJ-d Kõrs ja Pullerits aka Kelgukoerad, DJ Jim Barnard

24.00–03.00 Today in the(Inglismaa), festivalDJclub Talis Paide

Editorial: Chief editor: Taavi Eilat Journalists/critics: Liisa Pool, Liisa Ojakõiv, Annika Andresen, Elerin Keerus, Triinu Sikk, Merete Väin, Pia Maira Uuetoa, Deivi Tuppits, Kristi Ruusna Translators: Hele Priimets, Mari Mägi, Raido Vahtra

Von Krahli teatri baar

08.06.

21.30–23.00

Ansambel Fibrill

NUKU väike saal

23.00

DJ Helen Tammemäe ja Märt Kivi

NUKU fuajee

Sissepääs klubisse festivali kaelakaardi või passi ettenäitamisel.

07.06. Von Krahlis pilet 5 €, Treffi passi ja sama päeva piletiga 2 €.