Lynne Glazer
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Lynne Glazer > As equestrian co-directors of Cavalia and performers as well, they bring a wonderfully gentle and magical way with horses to the heart and soul of the production. Cavalia is a chance to give freedom back to horses. [Magali, Templado, Fred, Fasto & Aetes]
Lynne Glazer > We must follow the horse's time, though. It is different every performance, Pignon laughs. The horses enjoy their play, but in some performances they have their own ideas, and it might take a little time for Pignon to pull an errant knight back into the fold. He makes it a part of the act, but this is why Cavalia's music is performed live by the very talented musicians and vocalist who are prepared to extemporize. [Fred & Aetes]
Lynne Glazer > To dream. To dream is to look courageously into the deep space of possibility and manifest a whisper of a wish into a new form of reality—it is to celebrate the power of imagination. Picture many gifted artists being called together by their dreams, to create a world of light, sound and image, an extravagant multi-media production—all for love of the horse. And so unique is the collaboration of humans and equines joined to create this spectacular tribute to the horse that a new word was coined for it - Cavalia. [Templado & Frédéric Pignon]
Lynne Glazer > Templado made us think in a constructive way which never veered into an unhealthy fixation. I think that is what saved us. It has to be said that we didn't have the time. What with working our performance horses and organizing our tours, we had other things to do than get ourselves into a state over him. It is quite probable that, if we had worked with Templado with a definite objective in mind and within a specific time limit, the pressure and the need for a quick result would have made us take a different approach. We would have taken more risks, which would have made us make more mistakes. But in our case, we were happy just to follow the clues he gave us, to take the time to understand them and leave him enough time to accept us in his environment. In time, Templado (a name which Pignon and Delgado point out with amusement means "moderate") the former freedom-fighter Templado came to be the liberty star of the internationally-celebrated Pignon/Delgado performances, for love of his humans. To this day, Templado dislikes being ridden but he does enjoy liberty work, so that is what he does. He clearly adores Pignon. I don't demand, I request, Pignon says. This is a collaboration of equals. [Templado & Fred performance at Del Mar, California]
Lynne Glazer > Finally they all lie down together in an incredible display of serenity. [Fasto]
Lynne Glazer > “But with Templado, this wasn’t enough,” Pignon continues. “He was too rebellious. He saw his freedom as too important to be sacrificed in some codified, hierarchical relationship…he forgave me nothing. The slightest error, the slightest faux pas on my part, and I was made to pay dear. He immediately put up the barriers and made me understand that I had burnt my bridges.”
Lynne Glazer > The liberty acts in the production feature a number of the Delgado-Pignon Lusitano stallions; all the Delgado horses are full or half-brothers. Using only hand commands, body language and gentle words Pignon leads the three white liberty stallions, Templado, Fausto and Aétès in fanciful routines that look like play—and they are play. Horses and man chase each other in choreographed figures, the horses completely free of tack, Pignon occasionally holding a delicate strand of mane to subtly hint to a horse to stay close, or a slim wand to indicate direction or movement. [from left, Templado, Fasto, Aetes]
Lynne Glazer > It took years for Pignon to gain Templado’s confidence. In the book “Templado: A Star at Liberty,” Pignon explains. “We were still new to liberty training, believing that if we were simply kind to the horses, everything would be fine. But Templado’s obvious distress under his rebellious exterior led us to think about new ways of working. We felt it was impossible to get through to his deep suffering by traditional teaching. Up to then, we had been too focused on a horse and rider relationship based on our own personal experience and on bits and pieces of systematized riding techniques. I don’t mean this to reflect in any way on this sort of approach, which usually works well. A great number of top level riders have proved and are still proving that one can do good, efficient work based on both horse and rider knowing and remaining in their place.”
Lynne Glazer > The famous example of course is the luminous Templado, whose story is told in the photographic book “Templado: A Star at Liberty” (available in English for purchase at Cavalia).
As equestrian co-directors of Cavalia and performers as well, they bring a wonderfully gentle and magical way with horses to the heart and soul of the production. Cavalia is a chance to give freedom back to horses.
[Magali, Templado, Fred, Fasto & Aetes]
Lynne Glazer > As equestrian co-directors of Cavalia and performers as well, they bring a wonderfully gentle and magical way with horses to the heart and soul of the production. Cavalia is a chance to give freedom back to horses. [Magali, Templado, Fred, Fasto & Aetes]
As equestrian co-directors of Cavalia and performers as well, they bring a wonderfully gentle and magical way with horses to the heart and soul of the production. Cavalia is a chance to give freedom back to horses.
[Magali, Templado, Fred, Fasto & Aetes]
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