Country Chile

Discipline Puppet theater

Recomended for +6

Duration 50 minutes

Language Spanish

Dates January 18, 19.30h; January 19 and 20, 17.00h and 19.30h

An opportunity to think about the relationship between humans and the planet

Teletrece

Lilén is an eight year old girl who discovers that the only fish left in Chiloé, where she lives, are kept in captivity. Reflecting on the relationship of humans with nature, the little girl tries to raise awareness about the importance of our actions and their consequences for the planet, without realizing that her story will become entwined with that of the last free fish in the sea. El Último Pez is a family-orientated play that tackles the environmental problems facing the ocean in southern Chile as a result of over-fishing and salmon-farming. Using elements from Chiloe’s mythical past, the production reflects the opinions of a girl who envisages a dystopic Chiloé where there are no more free fish because of humans’ lack of conscience and concern for the world they live in. With an innovative set that uses puppets, live music, pop-up scenography and digital animation, El Último Pez aims to make children the champions of social change.

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Company

Teatro Marote

(Chile)

Since 2017, this company has been dedicated to research into and the esthetics of puppet theater and theater for all the family, emerging in 2017 with its first production, El Último Pez. This production was premiered at the San Joaquín Cultural Center in August of the same year. Its second season was held in April 2018 at the Mori Bellavista Center. The play also took part in the 11th version of the International Theater and Dance Festival (FINTDAZ 2018) in Iquique, in Los Temporales Teatrales in 2018 and in the Nevadas Internacionales Theater Festival in Bariloche (Argentina).

Direction

Catalina Bize

(Chile)

As an actress and theater director, Catalina Bize has explored different theatrical styles, concentrating on creating, constructing and handling puppets. In 2010, she co-directed the play Chola colérica, which premiered at Matucana 100. In 2013, she produced and was a puppet handler in the puppet piece Macrobio, el niño que salvó al río. A member of the Teatro y su Doble company directed by Aline Kuppenheim, she was a puppet handler in the play Feos by Guillermo Calderón and Sobre la cuerda floja by Mike Kenny. In 2018, she created and directed the puppet play El Último Pez.

Direction

Scarlett Carrasco

(Chile)

Scarlett Carrasco is a theater actress, presenter, producer and theater instructor, her motivation is discovering new audiences, leading her to work as a theater instructor for different educational institutions - from schools to universities - specializing in the spoken voice and vocal technique. She founded Teatro Marote with Catalina Bize, working with the company as an actress, director and producer. In 2017, it won creative funding from Fondart for the play El Último Pez. She is currently one of the producers of Teatro Oriente.

Company Teatro Marote | Original idea by Scarlett Carrasco and Catalina Bize | Written by María Paz González | Artistic directors Catalina Bize and Scarlett Carrasco | Stage director Catalina Bize | Cast Scarlett Carrasco, Camilo Navarro, Camila Vega and Nicolás Vergara | Score written and performed by César Pacheco | Lighting designer Matías Segura | Visuals Valesca Díaz Set designer Cuervo Rojo | Producer Daniela Orrego

  • Among other things, this production stands out for being multidisciplinary - it mixes hybrid puppets (marottes), digital animation, pop-up scenography and live music.

  • It’s a play that brings the environmental crisis that the ocean in Chiloé in particular is suffering to audiences of all ages, highlighting humans’ lack of concern about being a living part and inhabitant of nature and their excessive intervention in this territory, which only concerns them as a means of economic exploitation and leaves them oblivious to the consequences of the impact they’re making.

  • El Último Pez uses a child’s perspective to emphasize the fact that children are the forerunners of social change and the real heroes of the future.

  • The play retrieves something of traditional Chiloé culture and its vision of what is communal and collective, a vision the company says can be understood as “a possible way of reverting humans’ negative effect on nature”.
  • Marotte. This is a kind of puppet handled from a height. According to the World Encyclopedia of Puppetry Arts, “in its most elementary version, a single rod is used to manipulate the puppet’s head”, although “it can also have a combination of manipulation techniques, for example rod and glove. Instead of placing the index finger in the head, a rod is placed there that is then held by the forefinger, the little finger and the ring finger, while the thumb and the index finger are slid into the arms of the glove figure”. In other words, it’s a puppet whose hands are substituted for those of the puppeteer.

An opportunity to think about the relationship between humans and the planet

Teletrece