Text
Águeda Llorca and Gonzalo Manglano
Directing
Jaume Policarpo
Cast
Pau Gregori, Águeda Llorca and Jorge Valle
Producer
Bambalina
27 – 28 JAN 2024 At 11:00 and 13:00 | duration: 50 min Family audience from 5 years of age Language: no words Technique: mixed (objects and actors)
Please arrive well in advance as the auditorium will be closed once the performance has begun.
To collect your tickets, our ticket offices will be open from Monday to Sunday from 14:30 to 20:30.
Águeda Llorca and Gonzalo Manglano
Jaume Policarpo
Pau Gregori, Águeda Llorca and Jorge Valle
Bambalina
If you are a child, or have ever been one, you will have seen that growing up is not always easy… things happen to your body that you don’t understand, questions arise for which you don’t get answers, you look in the mirror and you wish your nose would stop growing so fast… it has happened to you, hasn’t it? It happened to us too, which is why we created this show. We do not offer solutions, but we will try to make you see that nothing is that important and that accepting and loving yourself, just as you are, even learning to laugh at yourself, is the way to make your worries disappear.
Águeda Llorca and Gonzalo Manglano
Jaume Policarpo
Pau Gregori, Águeda Llorca and Jorge Valle
Bambalina
Bambalina’s trajectory could be defined as a continuous search for the identity of the puppet. This is
confirmed by the experimentation and learning of different manipulation techniques in their early years (gloves, rods, threads, masks…), as well as the different materials used in their design and construction. Undoubtedly, the bunraku technique will be that which they most develop and personalise, becoming one of the most recognisable features of his theatre. The scenic coexistence of manipulator and puppet complexifies the identity of one and the other, provoking an essentially theatrical conflict. This relationship of continuous confusion of identity between performer and inanimate object has guided Jaume Policarpo’s research and reflection. All of this serves to recover or revive the ceremonial and even sacred potential of the puppet, and to achieve a hyper-realistic result through its manipulation, with the aim of making it as multifaceted as an actor.