IDENTITATS (Identities)

Marionette Theatre Dance.
Medium-format show for one actor, one string-puppet and six masks. Nonverbal.
For the young (+12) and adults. Indoor or outdoor (technically simplified version). Suitable for air transport (2 pax, 1-2 suitcases).

The purest essence of the Marionette, takes us into an exciting and surprising dramatic search for its own existence, which evolves under various contemporary choreographies, with electronic music, light environments and video backgrounds.


Award for Outstanding Dramas at the 2nd International Puppet Art Week Festival 2017 Nanchong, China (+ info)

PREMIERE: AUGUST 27, 2016


Synopsis

The metaphysical marionette. A string-puppet naked, faceless, born and dies on the stage. During its ephemeral existence will adopt different "larval" masks, each of which will mark the way to be and do, thus assuming the identities that are prefigured by these.

Opening the field of marionette to the contemporary research and to the young audience.
Commemorating nore than forty years of career, the Marionettist Carles Cañellas proposed a work for young people and adults, which combines the purity of Marionette, with the most accurate manipulation as possible and an exploration of the enormous dramatic capabilities of the puppet which moving also under various contemporary choreographies, with electronic music and video-backgrounds, custom-made.

IDENTITATS not only is a theatrical metaphor of the actor in front of the roles he must portray throughout his career, but also of life itself.

The string-puppet as a protagonist of an innovative play, with a high degree of technical complexity in manipulating a marionette 90cm/35in tall and 27 strings, animated by Carles Cañellas. The puppet plays successively the characters that mark the various masks wearing. Dramatic actions that interspersed with moments of contemporary dance, with choreographies created by ex dancer and puppeteer Susanna Rodriguez, in which the puppet moves to the rhythm of electronic music, composed and performed by InnoDB. All accompanied by video backgrounds by Giacomo Verde, which reinforce their expressiveness, and a careful design of lights, suggestive and pictorial, creator of spaces and emotional environments implemented by Quico Gutiérrez.


Is intention of the proposal, to show to an audience usually away from the puppet, a field that, not for unfamiliar, is less interesting, and that projecting to the future, it is rooted in the theories of the theatrical experimenters from the early twentieth century, that they decide, in their projects or dreams or utopias of theatre renovation, precisely use an object obsolete as the puppet. In particular the Englishman Edward Gordon Craig (1872-1966), and later the Polish Tadeusz Kantor (1915-1990). But we could also mention the Russian Vsevolod Emilevich Meyerhold (1874-1940); or the Germans George Grosz (1893-1959), who prepares satirical shows with puppets, and Oskar Schlemmer (1888-1943) from the Bauhaus School; or the Swiss Adolphe Appia (1862-1928), who collaborates with the puppeteer Otto Morach (1887-1973); or the French Gaston Baty (1885-1952), who theorized about the superiority of the puppet in front of the actor flesh and blood... and we could still continue citing other. The fact is that puppets and marionettes collect some important features that, above all at the beginning of the last century were much appreciated in theatrical environments, that were pursuing renewal or subversion goals: "The flavour of the East and the maximum availability of the inventive, the satirical entertainment and a taste for the grotesque, the coarseness of the popular and primitive, and the pleasure of experiencing the most unusual materials, the utmost rigor and the improvisation." An example of this we have in Catalonia with the artists and intellectuals that, from 1897 to 1903, were meeting at the cafe Els Quatre Gats (The Four Cats) of Barcelona, who were very interested in the Teatre de Putxinel·lis (Puppet Theatre) and they wrote texts and collaborated on making scenography, or composing music for puppet theatre.
Some of these authors refer to the essay, precious and precursory, published in 1810 by the German playwright Heinrich von Kleist (1777-1811) "Über das Marionettentheater" ("About the Marionette Theatre"), addressing to the artists of the Performing Arts, especially the dancers, in the conviction that these should be mainly those who attend the shows of marionettes.

CREDITS

Author, Direction, Design and Construction: Carles Cañellas
Choreography and Costumes: Susanna Rodríguez
Electronic Music and Effects: InnoDB
Lighting Design: Quico Gutiérrez
Video-Art: Giacomo Verde


VIDEO PROMO

FRAGMENTS d'IDENTITATS Extracts of the show


VIDEO DOCUMENTARY

THE IDENTITIES OF THE MARIONETTE Documentary about the show, subtitled in English


LAS IDENTIDADES DE LA MARIONETA Documentary about the show, subtitled in Spanish


LE IDENTITÀ DELLA MARIONETTA Documentary about the show, subtitled in Italian


LES IDENTITATS DE LA MARIONETA Documentary about the show in its original version in Catalan


DOSSIER

Dossier IDENTITATS Download show's dossier


DIPTYCH

Diptych IDENTITATS Download show's diptych


TECHNICAL SHEET INDOOR

Technical sheet IDENTITATS Download Technical sheet


TECHNICAL SHEET OUTDOOR

Technical sheet IDENTITATS Download simplified Technical sheet


PICTURES*

IDENTITATSrocamorateatre.zip Download ZIP Pictures

*These pictures may be used freely to promote Rocamora Teatre and his activities, ever inserting the necessary references. Any other use is strictly limited and subject to copyright laws.

FESTIVALS

-35 FESTIVAL TITIRIJAI.
TOPIC - TOLOSA (Gipuzkoa). SPAIN
-XXI FESTIVAL L'ARLECCHINO ERRANTE.
PORDENONE. ITALY
-X FESTIVALUL INTERNATIONAL DE TEATRU PENTRU PUBLICUL TANAR.
IASI. ROMANIA
-FIOS. MUSEU DA MARIONETA.
LISBON. PORTUGAL
-II FEIRA DE TEATRO DE BONECOS E FORMAS ANIMADAS.
FAFE. PORTUGAL
-2nd INTERNATIONAL PUPPET ART WEEK FESTIVAL.
NANCHONG. CHINA
-XIX FESTIVAL INTERNACIONAL DE TEATRO DE TÍTERES, OBJETOS Y VISUAL. TEATRO ALHAMBRA.
GRANADA. SPAIN

CRITICISM

IDEAL of GRANADA. June 2, 2017. THEATRE / REVIEW. ANDRÉS MOLINARI

AS MANY STRINGS AS MUSCLES
There is no doubt this year´s puppet festival will go down in history as one of the most compact in quality and best chosen in its variety. Already in its final stretch, we look back and remember performances that used objects, mechanical puppets, big stages crammed with things and sometimes almost empty. It would seem that the Alhambra Theatre has tried to compensate us with a number of puppets for a season that was rather poor as per its amount of actors.

From Catalonia came this small wonder of a one-man act with his articulated wooden puppet. It is a perfect story stretching from the endearing to the surprising. It goes from the puppet´s birth among contractions of a red bag, practically a tissue uterus, until its death and burial in a black bag, a coffin resembling a dustbin. In between, we are witness to a display of intelligence with the classical roles translated into interchangeable masks fitting an expressionless and faceless head. Carles is an old times puppeteer using a modern scenography. His baroque and risky technique is embedded with care and elegance in a sheltered stage using continuous abstract projections and an insistent repetitive music. However, always in line with the character or "identity" of the manipulated character. Thousands of strings connect his hands to the puppet's body. Almost as many fine ropes as muscles have to be moved for the animation of the little dirty-white wooden man. These delicate strings are never broken umbilical cords between creator and creature, so that the manipulator becomes an actor. Thus, we end up enjoying the wordless dialogue between the both characters on stage. Carles makes the puppet fly, enjoy, kick angrily at its god, suffer from tedium, drag itself out of submission and even venture a flamenco dance. The excess in number causes some threads to get tangled with others sometimes, but a correction by the unfazed puppeteer refers to the need of outside help we humans always have. Of that friendly, helping hand that may get us out of our confusion. It is a lucky puppet indeed, one blessed with the help of Carles´s hands and intelligence, in order to show, at every instance, the adequate face. Which articulation to move accordingly and which error to correct in time, simply choosing to move a thread here or a thread there.

CARD
> Show: Identitats
> Company: Rocamora Teatre
> Creation: Carles Cañellas
> Theatre: Alhambra, May 27, 2017


PRESS REVIEW

IDENTITATS (Identities)

IDENTITATS (Identities)

IDENTITATS (Identities)

IDENTITATS (Identities)

IDENTITATS (Identities)

IDENTITATS (Identities)

IDENTITATS (Identities)

IDENTITATS (Identities)

IDENTITATS (Identities)

IDENTITATS (Identities)

IDENTITATS (Identities)

IDENTITATS (Identities)

IDENTITATS (Identities)

IDENTITATS (Identities)

IDENTITATS (Identities)

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