From Monday 22th November 2021 to Friday 26th, 5 days of residency in Madrid with designers and puppet theatre artists …
The living Puppet
Pinocchio is a Living Puppet, who reaches the physical world from its virtual environment, in which it already possesses a form of intelligence. Acquiring a body, even if it is synthetic, projects it into the world of emotions; not those encoded and pre-established by its programmer, but new ones that arise from the interaction of the body with the environment and with itself. Synthetic matter must have an affinity with the biological, even the morbid. Pinocchio discovers first the fun of pure interaction (pounding on things) and then sexual pleasure due to the repeated contact between his hands. The plastic of your skin could have that Cronenberian touch of hybridization between biological and synthetic.
The wood no longer belongs to this Pinocchio. Wood, as a “living” material related to human beings, has the magical power of giving life to an object such as a buratino. In a way, Pinocchio’s magic wood substitutes for the artist’s role that brings the puppet to life. An intelligent, autonomous puppet, who has lost the relationship with the human artist, must be made of something different, something new. Pinocchio must seek his humanity, discover it, experience it. When, at the end, he is forced to accept his legacy (the character Pinocchio) and his status as a puppet in the service of a show, that is when he begins to build body parts that are in line with the expectations of the public, looking for inspiration in the classic repertoire of his character.
From person to character again. In the final part of the Opera is when his body is completed but loses the dynamism and vitality of the first moments in the real world, when it was only a head and a pair of hands. Now Pinocchio feels crushed by all the preconceived models that take away his freedom to simply be a new living being. These new body parts (seeking public approval) are reminiscent of a more traditional Pinocchio and possibly with wooden parts.
Pinocchio’s face will integrate a screen on which his expressive features will appear. We have an original identity (Pinocchio) but we can explore different possibilities to shape a body that should look like something new, still under construction and with the idea of the hybridization between organic and synthetic to reinforce the concept that the body is in the phase of experimentation of emotions, on the way to being something alive.