Video extracts  -  Press


Technical requirements:

- title: "Full Hands"
- stage 3X3m (minimum) and 2.5 m high
- potential 220V-500W
- black out
- 300-400 audience capacity
- duration: 50 minutes


Photos

foto 1 - high resolution download


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Other photos

Photographs by Jorge Raedó

(Versió en català)            (Version en français)        (versión en castellano)

FULL HANDS

Creation, direction and performance: Toni Rumbau

 

Puppets: Mariona Masgrau
Music: Octavi Rumbau
Puppet choreography: Margarida Carbonell
With the collaboration, photographs and drawings of Jorge Raedó
Puppet costumes: Carmen González
Other props and costumes: Núria Mestres
Shadow screen: Raquel Bonillo
Technical assistant: José Menchero
Dramaturgy assistants: Rebecca Simpson and Luca Valentino
Show video: Alfonso De Lucas Buñuel (La Parca Feliz)
Production: La Fanfarra S.L.

Toni Rumbau has created a new solo show for hand and shadow puppets for audiences of all ages.

Following in the wake of his latest work – from his now classic “Two Hands”, through “Double and Shadow” and the opera “Euridice and the Puppets of Chairon” -, in this new show the author-puppeteer brings together traditional, popular puppet theatre and an extremely visual language of shadows, hands and objects.

The central, archetypical themes of puppet tradition (birth, death, creation, hunger, the duality of good and evil, freedom…) are treated with the unleashed vitality of the hand puppet and from the poetic and deeply symbolic perspective of the shadow theatre.

A show which invites children’s ingenuous and lively participation, and awakens the attention and complicity of adults. For children aged 5 to 99!

The puppets: Polichinela, the Dog, the Policeman, the Devil, Death… Traditional characters, given life in today’s world by the imagination of the audience and the skill of the puppeteer.

From the Egg to the Cube: the Egg of Imagination, delivered to the puppeteer by the audience at the start of the show, brings life to the cube, the box which is home to the spirit of Polichinela. Here, the different characters are born. At the same time a light emerges inside the puppet theatre, which is thus converted into a sound and light box.

Shadows, puppets, images, sounds, a speeding rhythm of puppet manipulation, subtlety, tradition and modernity… A show created out of research and virtuosity, in which the puppeteer postulates the traditional practice of puppets as a trampoline for the search for new expressivity of sound and image.

With the use of the swazzle (for some of the voices) and, furthermore, live music made by strong but simple instruments, the puppets engendered in the depths of the mysterious puppet theatre come to life to represent the eternal rite of creativity and the struggle against death.

The puppet theatre, an elongated, translucent cube, is lit from inside so as to become a light and sound box filled with mysterious music. A box in which the indomitable and fecund breath of Polichinela hides and throbs with life and images.   

 «Full Hands»: by means of those impressive tools, the puppeteer’s hands, tradition is put to the test and re-founded in a process of introspection which turns the puppeteer’s trade inside out. That which is traditionally hidden is illuminated by consciousness, embodied in a restless point of light; consciousness which is, at the same time, that of the puppet theatre and of the puppets which inhabit it.


 

The audience’s perception is thus amplified by a number of different points of view which are superimposed one upon the other. At the end, once the puppets have returned to the box from which they emerged, images from the Tradition which underlies a show like this are displayed in the puppet theatre. And the box of puppets, suddenly illuminated from within, becomes a new theatre - a theatre in miniature, intimate: a theatre in which the audience can imagine their own stories unfolding.

Video montage of fragments from the show, by Alfonso De Lucas Buñuel:
 

Press:

- Crítica de Edgar Davidian al Journal L'Orient-Le Jour, de Beirut, Líbano (27-05-2010)
- Crítica en el Journal www.annahar.com de Beirut, Líbano (27-05-2010)
- Crítica de José Luis Melguizo en "El Heraldo de Aragón", Zaragoza, 30 diciembre 2009.
- Crítica de Gontzal Díez en La Verdad, Murcia, 5 noviembre 2009.
- Crítica de "A Manos Llenas" por Conrado Domínguez, Barcelona, (20 julio 2009)
- Entrevista de José Bolorino a Toni Rumbau. Publicada en Titerenet, 30 noviembre 2009
- Entrevista a Toni Rumbau de Sonia García García en El Periódico (5-julio-2009)