Abstract
Zaches Teatro’s work on “Pinocchio” places at the center of its reflection (and creation) the puppet as an “idea”, an object of research by the company that from its origins, investigating the union between different artistic languages (contemporary dance, use of the mask, vocal experimenta- tion, the relationship between plastic movements, live-electronics, up to biomechanics), has found a key element in the artificial figure and fertile ground in what we define as “figure theatre”. “Pinocchio” becomes the engine of a quest that brings to the stage, in a dark and eventful journey, the sense of death, violence and the unknown that Collodi synthesized in images within a completely expressionist epic.
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