3/25/2023 0 Comments Pinocchio story studio version![]() And so, too, is this the case in the Teatro SEA version of the tale. In the original tale, the Land of Toys (Paese dei Palocchi) mixes the aspects of a morality tale with those of social critique. In the second act of the play, the main set turns 180 degrees to reveal a carnival/amusement park scene, symbolizing the United States, here depicted as a land of entrapment. ![]() Among these stories are border crossing attempts, which are a means of introducing the central theme of the play. Lost luggage, that fill the cart and spill over onto the stage, "tell" stories of their owners' lives by way of video projection. Typical Mexican elements, such as a wooden cart, lanterns, an altar, etc., are precisely (and artistically) arranged on, in front of, and around the office façade. ![]() In the first and third acts of the play, the set is a Lost & Found railway station office somewhere in Mexico close to the border with the United States. The masterfully constructed turnabout set is multi-functional. Technical director Daniel D'Ambrosi and Morán recreate the lights of Lucrecia Briceño to great effect. As Manuel explained to me, !Viva Pinocho! is an opportunity to showcase José's great talent. Indeed, next to the solo performer, the star of !Viva Pinocho! is the complex set. Puerto Rican José López built the Pinocho puppet and the intricate and exceptionally well crafted sets in Teatro SEA's studio/workshop base in San Juan, Puerto Rico. It is a visually very pleasing, if busy, production. This multi-media production is beautifully staged. ¡Viva Pinocho! A Mexican Pinocchio succeeds in provoking the need for such a dialogue. It is my hope that this production, in addition to its entertainment value, might serve as an incentive for dialogue regarding these themes, both in homes and at schools. ![]() In addition to immigration, this adaptation explores many other diverse themes such as identity and cultural preservation, prejudice and assimilation, among others. In spite of the fact that the theme of immigration is one of the most popular, if not the most popular theme when referring to our Latino community, it is one that is rarely discussed with our children. In any case, I wanted this adaptation to achieve something different: not simply to present an artistic production, but to explore a theme that would provoke dialogue, as much in the younger audience as in the adult one. But he also saw in this classic story a means of exploring themes that deeply touch and affect the lives of many Americans today - the question of immigration. Audiences follow the puppet boy's journey to understanding his sense of self while struggling to maintain his Latino heritage and find his home in a new land (the United States)." It is clear that Manuel Morán, also the writer, producer and director of ¡Viva Pinocho!,knows and loves the original story by Carlo Collodi, and appreciates the Disney animated version, too. In Mexico City, the young audiences in particular were open to and reflective of the play's message.Īs described in the program notes, ¡Viva Pinocho! is "a re-telling of the classic folktale … from the perspective of a young Mexican immigrant, Pinocho. Teatro SEA's Mexican Pinocho was written explicitly to provoke thought in its audiences, and provoke it did. The intention behind this version of Carlo Collodi's story of the puppet-boy Pinocchio was twofold: (1) to create a new play and production that offered audiences a rich display of puppetry and theatre techniques and (2) to provoke a dialogue between audience and performance about important social issues while, at the same time, telling a much-loved and exciting story. It was clear that the young audience members thoroughly enjoyed ¡Viva Pinocho! Moreover, they were intrigued and delighted by all the theatrical and puppetry forms and techniques that were on show. Moving the large and complex set three times from theatre to theatre was no mean feat! And the play's demands on the solo performer are considerable! This is a strenuous production! The four members of Teatro SEA who went to Mexico City were thrilled with the audience reaction, especially when they performed the play for children. Richard Marino, the company's Managing Director, was the company's tour stage manager. Teatro SEA presented its beautifully designed and well-acted new play six times at three different venues at the recent Festival Internacional Titerías held in Mexico City this April, where it was performed in Spanish for local audiences. This is a very rich and visually exciting production. ¡Viva Pinocho! 's puppetry techniques include marionettes, masks, objects, shadows, and video animation. Manuel Morán is the play's one actor, the voice of 16 characters, and its sole puppeteer. Manuel Morán is the solo performer of ¡Viva Pinocho! A Mexican Pinocchio, a 55 minute multi-media, bilingual production for adults and children of six years and above.
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