—Its highly attractive visuals, representing forms by using objects as common as a brown paper bag or a piece of plastic. “This is theatrical beauty at its purest - playful and naïve but technically consummate”, says a review of Pareidolia published on the Culturizarte site.
—It offers the audience a new way of seeing reality. “Pareidolia talks of how we ‘see’ and ‘observe’ reality and how, if we change the way we look at things and our idea of what’s real, we can see a world of creative and poetical possibilities, full of new meaning, in everyday things. These have always been by our side, but we simply haven’t managed to ‘see’ or ‘perceive’ them”, explain its creators.
—It gives the adult audience the chance to look at the world the way they did during childhood. “Pareidolia gifts us the chance to give ourselves over to fantasy and games and get back our innocence, thanks to its moving visual poetics”, says the description of the play published in Le monde diplomatique.
—Object theater: According to the International Puppetry Union’s World Encyclopedia of Puppetry Arts, this is a kind of theater where the human figure is not present (under the guise of an actor, puppet or another representation) and where objects, in the widest sense, are favored in the dramaturgy to the detriment of the verbal form. It’s predominantly a visual theater, having more in common with the figurative arts than other kinds of theater. The actor, when he is present, assimilates himself into the space, sometimes through the use of stage elements or costume and he does not necessarily portray a character.
—Visual theater: Director, playwright and teacher at the Barcelona Theater Institute Joan Abellán defines this as “dramaturgies that set out to elaborate a discourse that can only be exclusively or mainly expressed in images and which use the most visual performing arts styles to translate them to the stage”.
—Phillipe Genty: Born in France in 1938, he’s one of the masters of visual and object theater. In 1976, he founded the company that bears his name, which has turned him into a worldwide role model for this genre, which he defines as “a style in which the place’s ‘stage’ is somewhere in our unconscious. It’s a style that testifies to the conflicts of the human being when faced with himself (…) Journalists still have trouble describing our work. It can’t be fitted into any of the usual categories: dance, theater, puppets, circus. On the other hand, it’s practically impossible to describe - a disadvantage that we never stop defending”.
—An extract from Pareidolia’s soundtrack, created by Gorka Pastor, on YouTube
—Pareidolia trailer on Vimeo
—La Llave Maestra: “Our style’s really transversal and open and is for audiences of all ages”. A Teatro a Mil Foundation interview with the company.
Pareidolia, juegos para activar la imaginación on social media
On Instagram, @teatro_lallavemaestra
On Twitter, @Tlallavemaestra
On Facebook, lallavemaestrateatro