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on dry land


The Marriage of the Flea and the Lice
Creativity, Crossing languages, Improvisation

Artistic and Technical Sheet


Antony Fernandes

Carmina Repas Gonçalves

David Saraiva

Tiago Manuel Soares

Plastic expression

David Saraiva

Video and sound capture and editing

Abel Andrade

Sound capture andassistance production

Joana Lopes

Artistic direction and elaboration of pedagogical contents

Antony Fernandes, Carmina Repas Gonçalves and David Saraiva


Thistle Project

The Marriage of the Flea and the Lice

Miranda do Douro



Filmed at the Mafamude Club Gym, Vila Nova de Gaia

Specific objectives

  • Exploration and articulation of different artistic expressions

  • Use of common materials to create characters with the body or with objects

  • Disinhibition, improvisation and exploration of creativity

Suggestions for exploring the contents of the video at home or in the classroom:



  1. Start with a physical warm-up to make your body more available. First stretch, then massage your face and, from head to toe, rotate the joints: neck, shoulders, elbows, wrists, hips, etc. Warming up is especially important to help calm and concentrate the group.

  2. Do a little vocal warm-up. Start by yawning, taking several deep breaths, moving on to making simple vocals with different vowels (exploring the range of voice); play imitation games suggested by the adult or the children and tongue twisters (such as “the mouse gnawed the cork off the bottle of the king of Russia”, for example). A good way to warm up the voice and help with disinhibition is to also use the sounds of animals. In a first phase, the ideal is to start with imitation (the adult does and the children imitate). It is advisable to use animals whose sounds have a greater number of vowels (such as the cat, the duck, the dog or the chick) and avoid animal sounds with strong and abundant consonants in rrr, such as the lion, for example. Then, in turn, each child plays the sound of an animal of their choice and the others imitate. It is important that everyone does this.

  3. After the vocal warm-up, they can start exploring improvisation and disinhibition games. Animal imitation games are very simple ways to do this. They can play question and answer games between animals (eg a dog and a cow), explore how each animal moves (eg how does a snake move? Or a sloth?). We underline that it is essential that all children participate, even if they are embarrassed to do very simple things. Over time, they can also explore the representation of other things such as professions, emotions, people they know, movie characters, etc... Children can try to guess what their colleagues are representing.

  4. Create small stories or situations to make children improvise and explore their expressiveness. Make small groups; each group decides on their characters and builds a small story (characters, location, action to be developed); explain that it should be simple things like a group of people at a concert, a trip to the supermarket, a plane trip, etc); then they try to improvise on what they decided; Finally, they show the class what they have prepared. Everyone can try to guess what it is. It is interesting that, in a phase of greater ease and after several classes creating situations of this type, there are moments of conversation and constructive criticism regarding their work and that of their colleagues. The idea is that they become aware of small rules for being on stage: speak or make sound, one at a time, avoid having your back to the audience, project your voice well, speak slowly, try not to be distracted while presenting or while watching. (even so they can later give their opinion on what they saw or what they did), express themselves with clarity and determination, etc.

The story

  1. Choose an age-appropriate story for the children. We chose a traditional song with several animals, (“As Bodas da Pulga e do Piolho”), but these proposals can work with any story as long as it has many characters. It should be read calmly to the children and all doubts and/or difficult words should be clarified.

  2. After reading, distribute the characters among the children. The teacher stands with the narrator. If necessary, the same character can be assigned to more than one child. Each child (or group of children) will make their character's sound or noise when it appears in the narration of the story.

  3. Keeping the characters distributed in the previous point, the mime can be added; in the first phase only in silence, then the child must add the sound of the character. Streamline the articulation between the characters until it becomes natural. As it becomes easier, ask the children to stay in character throughout the story, participating more clearly when called upon by the narrator. You can try switching characters.

  4. Appealing to creativity and autonomy, encourage children to create a small role-play. Indirect speech will remain the responsibility of the adult. This should give maximum freedom to children, providing support only when necessary. At the end of this exploration, it is interesting to create a new moment of reflection and discussion about the work developed with the objective of improving the clarity of the representation of history.

  5. In the case of primary school children or older, as the narrator's text becomes familiar, a child (or several) can be challenged to take the adult's place. Gradually they will manage to become autonomous.

  6. From the original story, suggest that children create new characters, lines and actions for them. The aim is that they can give rise to the imagination. It doesn't matter how silly it is. By the way, it is excellent if the children feel that they have the freedom to be “goofy” and unreasonable in front of their peers, without embarrassment.


Other Resources

  1. As we mentioned, this story is also a song. Therefore, we suggest that you take advantage of this resource following the proposals that we present to you. So everyone should learn the melody. If the teacher prefers (in the case of a music class, for example), he can teach the song before exploring the other proposals that we suggest. It helps a lot with memorization. First, everyone must sing the entire song until it is memorized and secure. Then, keeping the idea of distributing the characters, the students can sing only the part that fits them. New characters can also be included (call for rhyming, respecting the number of syllables in each verse).

  2. You can experiment with setting the story to music by creating a kind of soundtrack. They can use their mouth and body, but they can also explore objects and instruments that they have around to create environments, describe or emphasize with sound some parts of the story (the sound of the forest at the beginning of the story, the sound of little ants, create a melody sassy for the fox, cry like the flea, make scary sounds when the wolf comes, make the sound of chickens running away from the fox, etc…)

  3. In the document “Plastic expressions” some simple ways of recreating the characters of the story are presented. You can choose just one of the resources to represent all the characters (eg shadows or stop motion) or choose one resource for each of the characters. Each child (or a group of children) chooses which character will manipulate and interact with the story.

  4. Similar to the examples given above, children can be divided into groups and, using all the suggested resources, presentations can be made to the class. If possible, they can even add costumes, masks, props, create a small set, do everything with puppets, etc. You can and should use creativity and take advantage of the resources at your disposal to play with history, explore song, creative freedom and physical expressiveness.



“As Bodas da Pulga e do Piolho” is a children's song from Miranda do Douro. The part of the party that you can hear after the song is a dawn from Vinhais.

The dawns, very common in the northeast of Trás-os-Montes, are normally played on the bagpipes accompanied by the snare drum and the bass drum. As the name implies, they are played very early in the morning to wake everyone up on feast days.

The Marriage of the Flea and the Lice

Alternative courts

The Flea and the Lice

They wanted to get married

They wanted to get married

But they didn't have to spend.


There came the ant

From your ant,

- Follow these weddings

That I will go get bread.


- Oh my life

For bread we no longer fear,

piper of my soul

Where will we arrange…


There came the cricket

Underneath a Terrain:

- Follow these weddings

That I play harmonica and bass.


- Oh my life

We are not afraid of a piper,

chicken of my soul

Where will we arrange…


There went the fox

From your fox,

- Follow these weddings

That I chicken will fetch.


- Oh my life

For chicken we fear not,

Olive oil of my soul

Where will we arrange…


There went the owl

From your owlery:

- Follow these weddings

That I oil will get...


- Oh my life

For oil we fear not,

sheep of my soul

Where will we arrange…


There went the wolf

From there in your lobal:

- Follow these weddings

That I sheep will fetch.


- Oh my life

We are not afraid of sheep,

godfather of my soul

Where will we arrange…


There came the Mouse,

At the Mill Gate:

- Follow these weddings

That I will be the godfather.


- Oh my life

As a godfather we are not afraid,

godmother of my soul

Where will we arrange…


There came the cicada

By your cob above:

- Follow these weddings

That I will be the godmother.


Woe to my life

As a godmother we are not afraid

Dancers of my soul

Where will we arrange…


There went the frog

From there from your hole:

- Follow these weddings

That I dance for three or four.

There came the Barber,

From your hall,

- Follow these weddings

That I'll trim that big mustache!


Woe to my life

We are not afraid of the mustache,

Chorizo of my soul

Where will we arrange…


There came Careto,

always rattling,

Follow these weddings

That I'm going to steal chorizo.


Woe to my life

For chorizo we are not afraid,

Glues of my soul

where we will arrange


There came the Super Hero,

From there in your cave,

Follow these weddings,

These tights don't look bad on your leg!!!!

Woe to my life

For tights we no longer fear,

My Soul's Honeymoon

Where will we arrange…


There arrived an ET

In your flying saucer,

Follow these weddings,

That I take you to outer space.


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