Thursday,March 5, 20207 p.m.
Friday,March 6, 20209 p.m.

Agora Hydro-Québec
Hexagram-UQAM
Pavillon des Sciences biologiques (SB)
141 President-Kennedy Avenue
Montréal (Québec) H2X 3X8
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Photos

Show

Zona de títeres (Montréal and Mexico)

disenoescenico.wixsite.com/zonadetiteres

Adult and teen audience, 15 years +

A: $25 R: $20 

A: adults (13 years +) | R: discount *| C: Children (12 and under) * Discount price for members of the Association québécoise des marionnettistes (AQM—the Québec puppeteer association), students, seniors 65 +, or when purchasing three or more tickets for at least three different shows. Taxes and ticket processing fee included.

Buy tickets online

 

Three women from three generations live in a castle in the middle of nowhere. One sings, a bird accompanies her and steals her heart… Loosely based on Endgame by Samuel Beckett and Las vocales malditas (“The cursed vowels”) by Oscar de la Borbolla, Occa de l’anima, a Dystopian Tale, plays with distortion, as a body is altered, then rebuilt. And, in the process, we see our family ties in a new light. The show combines puppetry, singing, electroacoustic music and live video in a scenographic device called a “videocastel”.

Very little text, Spanish with French booklet

RUNNING TIME: 40 minutes
TECHNIQUES: Rod Marionette and Live Video

 

Company

Zona de títeres is a Mexican theatre company founded in 2010. Its aim is to foster the interplay between a wide range of performance and theatre conventions in a bid to explore new ways of imagining puppetry and acting.

Credits

Story, Stage Direction and Scenography: Victor Gabriel Silva Morales
Puppets and Lighting: Zona de títeres
Music: Sarmen Almond
Live Video and Performance: Ammi González, Ivonne Lemoine, Maira Silva,
Tomás Montes de Oca
Assistant Stage Director: Gerardo Buendía

Gabriel Silva sincerely thanks the FRQNT (Fonds de recherche du Québec – Nature et technologies), the FONCA (Mexican National Fund for Culture and Arts), the Institut International de la Marionnette in Charleville-Mézières, UNIMA’s Research Commission, the Academy of Performing Arts in Bratislava (Slovakia) and Hexagram-UQAM for their support.