Puppets

Puppets are peculiar creations. Lifeless forms brought to life through movement given by the animator. Stage beings that speak in someone else’s voice and shamelessly appropriate it as their own. Animated figures that mock the surrounding world with impunity, hiding behind intentions imposed on them by the puppeteer—who often denies authorship of the bold judgments delivered by THAT which he moves (after all, THAT is a “living” stage character who should bear the consequences of its words and actions).
A relationship emerges in which it is unclear who animates meaning, who hides behind whom, who moves whom. Puppets can do anything. They appear on stage and instantly become its undisputed rulers. Without scruples or inhibitions (for that they would need feelings—and puppets have none). They ask uncomfortable questions, expose embarrassing mechanisms, reveal the most closely guarded secrets—secrets accessible only to SOMETHING that exists on the border: between life and death, comedy and tragedy, illusion and magic, reality and fantasy.

The titular Puppets, pushed from the grand stage into an experimental theatre laboratory, waste time playing video games, dwelling on past successes and recent failures, and suspiciously observing the work of an enigmatic artist exploring new territories of the so-called theatre of animated form. They dream of a grand, spectacular return to show business. They are ready to step out of their comfort zone, abandon familiar conventions, take the risk of improvisation, and enter into a dialogue with the unknown on stage. From now on, they will surprise, provoke, mix styles, cross boundaries, soar to previously unattainable meta-levels, dive into intellectual depths, unleash unknown emotions, and break taboos! The latest production by Coincidentia Group raises questions about the cost of artistic journeys into the unknown… wearing someone else’s shoes.