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The setting let us imagine the atmosphere of the famous Chat Noir in Paris and the Belle-Epoque of shadow theatre in Montmartre. Total obscurity creates a smooth cosiness between the public, the shadows and the performer. The curtain goes up. A shadow circus is coming and everything becomes possible‌ Shadows and light are jumping and playing together and, hopping on musical notes and jinglings, spin us a non verbal funny yarn.

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“The shows we’re offering are very intimate, wordless and where music has a very important place because it enhances the personality of the characters”, says Paulo Ferreira who chose, for this show, a Pascal Ayerbe music with all kind of sounds from the body, from toys, discovery boards for babies and different objects such as a “guitar-strainer”. “Children easily relate with familiar sounds they hear at home, at kindergarten aso, like little whistles and other squeaks, and so does all the audience…this means the children recognize the sounds even if this show is also for adults”. In this show, the shadow puppeteer performs with a round screen and doesn’t work behind it. “I’m not hiding deliberately in order to show the technique to the audience”, confides the artist. The reason is also to give the opportunity to the children who have seen the show to discover what happens behind the scene and enable them to ask many questions the puppeteer would be delighted about giving answers: how to make the characters look bigger, how do they move aso. This is the opportunity for the artist to explain the difference between puppets and cartoons the children are used to watch. Laurence Dumonceau / L’Avenir 2011


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