Theater

PAREIDOLIA, JUEGOS PARA ACTIVAR LA IMAGINACIÓN

By La Llave Maestra

Chile

  • 70 minutes
  • +8 años

Advertencia +8. Onstage smoke effects and darkness

A play in which nothing is as it seems and which invites the audience to go beyond what their eyes can see.


Pareidolia is the mind’s capacity to recognize actual figures in abstract forms, like when we see faces or animals in the clouds, in marks on the wall or in woodgrain. In Pareidolia, juegos para activar la imaginación, a jacket becomes a singer and a tutu an ostrich: it’s a wordless journey through our imagination, in which all we have to do is look at our everyday surroundings ludically. It’s a visual and sensorial show that uses visual associations, analogies and metaphors, getting the audience involved creatively so they can see and also touch and be touched by the elements, materials and characters of a universe in which anything and everything can come to life. Pareidolia, juegos para activar la imaginación is the fifth production by La Llave Maestra, which was formed as a result of theatrical research carried out in 2017, based on visual and object theater and its expressive, creative and dramatic possibilities.

Written and directed by: Álvaro Morales and Edurne Rankin | Cast: Edurne Rankin, Mario Espinosa, Marcelo Pertier, Marcela Burgos, Alejandro Núñez, Catalina Castellano | Music: Gorka Pastor | Set design: La Llave Maestra | Set creation: Eduardo Jiménez, Odile Pothier, La Llave Maestra | Costume designer: Edurne Rankin | Costume creation: Edurne Rankin, Ximena Bascuñán | Lighting designer: Álvaro Morales | Producer: La Llave Maestra.

“A wonderful piece backed up by props that are rich in originality and diversity”.

—Biobío Radio

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

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