Hansel Grytl yn mi wedi'i gweithio yw Christopher Hampson, yng Nghymru Artistol.
Rwy'n mynd i'n gweithio'r balle, ac yn ystod, rwy'n gweithio'n gweithio'r balle, rwy'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio.
fuseblusiau'n gweithio felly,ír tref contractor mewn proef o ddechrau a gysylltu 我llawer a wneud hyfyrddio hynny ac oed yn clwyta crayf.
Y cyfwyddon erosug ar gyfer y gwn yma, grant hwnnw'n gweithio'n gweithio i fwy ymddianeth â Espaillau Scotlonlau unrhyw fydd ei gaeldd a fideou ar gyfer gan wir, wast o dae i merio'r bobl pareffau.
Hanson Gretel me began in autumn 2012 with a series of storytelling workshops and dance workshops where primary school children explored the ideas of Hanson Gretel through traditional storytelling methods and then created dance sessions and then encouraged them to write stories for the competition.
Oh, well, the kids have been excited, they've been so excited by the whole affair and they've some brilliant ideas come out. I think the strangest thing that I've had though is the trees changing from being benevolent to being evil.
I liked it when they got lost because it was really scary, that was what was going to happen today. We were thinking of making the ending kind of scary. The witch kidnapped their mother and then they're left in the house all alone and then to be continued because we don't know.
Around that time we also launched the adult writing competition with the Scotsman. Chris has been selecting the winners and looking at the stories, taking some time to look at what is truly inspiring him.
The production of Hanson Gretel is going to be shaped from the art work and the stories that we've had coming into Scottish Ballet and I thought I'd just share some of them with you.
There's this one which I really, really liked. This shows obviously a path into the forest and I like the concept that the forest is sort of never-ending. This really appealed to me. Birds are quite an important theme in the original Hanson Gretel story and I'm actually using ravens to pull the thread of the story through and to pull Hanson Gretel deeper and deeper into the forest.
And we've also got this one from Orkney. Again, it's got that theme of a pathway as well, going through and past a really, really scary bat. But I like that the moons are very strong image in this as well.
And I like the idea of the eyes peering through the forest. It's often the scary element of the story is not one you can see, it's what you can't see. I think this really illustrates that brilliantly.
The Woodlands performances took place around Easter time this year and they took place in five areas across Scotland. We worked with a range of community participants. Some were young people, some adults, some of them knew to dance, some of them experienced dancers.
They went out and explored the trees and built dens and just really thought about the story from a practical perspective. What was really exciting for us was that the final performance had full production support.
So we had a technical crew there and stage management support and we had Alex Rigg, a visual artist who created a beautiful gingerbread house for us and a huge moon and some costumes for the young people.
The final phase of Hanson Gretel and me is the audition process. It then leads into young dancers being involved in the actual full scale Hanson Gretel production this Christmas.
We've been looking for young people who have that spark about them. We've been overwhelmed by the amount of young people that apply to audition and who really enjoy the experience with us.
They got a chance to dance in front of Chris but also with our soloist Eve Mootsall who is on the poster for the production.
It's been a really exciting process and one that I don't know any other company has done, any other ballet company. It's been fantastic, the response that we've had from community members of all ages and now we are just really looking forward to seeing the final production and to see the influence that our project has had on that creative process.
We've been looking forward to seeing the final production and to seeing the influence that our project has had on that creative process.
We've been looking forward to seeing the influence that our project has had on that creative process.
We've been looking forward to seeing the influence that our project has had on that creative process.
