Writer and director
Philippe Genty
Cast
Amador Artiga, Marzia Gambardella and Andreu Martínez Costa
Producer
Mots de tête compagnie
18 – 19 NOV 2023 At 11:00 and 13:00 | duration: 55 min Family audience from 6 years of age Language: Spanish Technique: objects
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.
Philippe Genty
Amador Artiga, Marzia Gambardella and Andreu Martínez Costa
Mots de tête compagnie
Novels, tales and legends, personal stories, sacred texts… All this is told in Homer’s Odyssey, an ever new, timeless and contemporary text, a treasure trove of images and stories that is
much more than a reference book. An Odyssey for an object theatre that is as funny as it is unusual!
For this creation, Philippe decided to take up an improvisation developed in the workshop “Interior Landscapes” where he asked three actors to work on Homer’s Odyssey. A rewriting in
2010 resulted in La pelle du Large and now we present its Spanish version, La llamada del Mar.
Guided by this great navigator of the stage, Philippe Genty, we set sail to join Ulysses and his companions on a voyage into the unknown.
Philippe Genty
Amador Artiga, Marzia Gambardella and Andreu Martínez Costa
Mots de tête compagnie
Philippe Genty, French puppeteer. After training as a graphic designer, Philippe Genty began a journey in which he discovered puppetry arts from all over the world. His film Le Tour du monde des marionnettes (Around the World of Puppets) won the prize for originality at the Bucharest festival in 1965. An expert in different manipulation techniques, Philippe Genty founded his own company in 1968 and performed in Bobino, at the Olympia and in the Casino de Paris, with performances that soon became renowned. In the mid-1970s, he also became famous for his television series (Gertrude et Barnabé). His practice is based first and foremost on cabaret, where the essence of his future forms were found, particularly the technique of shadow theatre, which, through the mastery of light, allows him to play with the illusion of the autonomy of the manipulated objects. Since 1980, his regular creations, followed by world tours, have given his artistic output a new dimension.
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We also observe a progressive expansion of the puppet within the stage for whose animation he began to use dancers and the choreographer María Underwood. Genty has followed these immersions in ghostly universes with his work as a director, including Océans et Utopies (Oceans and Utopias, for the Lisbon Universal Exhibition, 98), and Le Concert incroyable (The Incredible Concert) at the Grand Gallery of Evolution at the Natural History Museum in Paris in 2001.
His attempts with text are unusual (Zigmund Follies, a 2000 recreation of the 1983 Sigmund Follies), but they confirm Genty’s addiction to pilgrimages into individual psychoses and the unconscious.