AMOR Y CRÍMENES

“The puppet show is the expression of the people's imagination and gives the atmosphere of their grace and innocence.“ Federico Garcia Lorca

SYNOPSIS

“Puppet theatre” appears as one of the ways to recover the “signs of

identity” by the young playwrights of the time. Confronted by the prevailing commercial theater,

They find in "puppet theatre" a double basis: on the one hand, the connection with the

classical theatre; on the other hand, the search for a “popular theatre”, through the use of themes and

traditional forms. These “farces for puppets”, originally conceived to be performed by puppets, can also be performed by actors and actresses, but always bearing in mind that attitudes, voices, gestures and echoes, everything, must be dislocated, exaggerated until reaching the absolute grotesque life of the puppet.

Comedy and a confrontation with commercial theater were the reasons that led Blanco to Amor, and

to almost all of his contemporaries, to write this type of “farce” and is also the

reason that compels us to represent them, a century later, as a confrontation

clear to the commercial theater of our time.

“The true magical realism of puppet theatre allows the manipulation of a

superhuman “humanity”, of an alcoloidal population that includes the symbol

and allegory without having to get bogged down in rhetoric or go astray with philosophy.”

Eduardo Blanco Amor

ARTISTIC AND TECHNICAL TEAM

Author: Eduardo Blanco Amor

Dramaturgy: Etelvino Vazquez

Address: Etelvino Vazquez

Performers: Sandra Fergadi, David Gonzalez, Daniel Lopez and Etelvino Vazquez

Stage design: Carlos Lorenzo

Locker room: Manuela Caso

Soundscape: Alberto Rionda and others

Lighting design: Pablo Carbajal

Poster and programs: Sandra Fergadi

Makeup and hairstyling: Gloria Romero

Video: The Footprint

Photo: Rafa Perez

Production: Northern Theater