reputation and build on
what you have been bringing about.
We are making this
available to you.
Welcome to the
United States.
It is a trip to Washington
The doll is very close to the product we learn at the college when we design it.
The character we design is exaustive, the character, the other day I was telling you that the
neck, the dialysis, I designed 50 of them, small ones, right, to get to the neck, which is.
Then we go to the design and profession, this character is accompanied by the direction,
right, the point of view of the material, how is the manipulation going to be.
It's going to be a balcony doll, it's going to be a son doll, it's going to be a habitable one,
and after defining what is the technique of the doll, we will start studying the material of the doll.
The doll has a subterfuge of light, so the light helps so much when he is happy, when he is sad.
Today there are people who say, wow, I thought I was crying. Sometimes it's the head movement
with the light from above, it gives a shadow.
There was a launch of watching on YouTube, like a papagaio.
When I saw a papagaio like that in front of me, wow, I was staring at his walk.
In the sequence, on the stage, I already tested it on the table, the audience was all there,
let me test this walk.
The dance, for example, I do that dance at the end, I'm still learning,
because sometimes Ana says don't open less.
Because what happens, I think she's going to do this for me.
And she's not going to do this, her movement is limited.
I mean, I have to realize this and play with it on stage, deal with it.
There's always a bit of improvise in this, even to realize how the doll will behave in this.
When Alice called me, she told me, Alice is you, it's the way you talk.
Because they got used to seeing me on the street, with the song of the toy,
because the duck went around the world.
We've been on the street for three years already, this show of doll and pop music.
And they already saw me brave, they saw me sad, they saw me very happy,
they saw me making a lot of jokes.
So they thought my humor had to do with Alice's humor,
which they imagined around the world.
I even questioned myself if I was able to do it, I'm not an actress,
I've already doubled some things, shorter things.
When the cat got here, we had a whole morning playing with the cat.
Like, stick, stick, stick, stick, stick, stick.
Who's going to get the rabbit, who's going to get this?
One of the days I felt more like a creator, you know,
like, no, now I can put my creativity here and such.
There were many teams working at the same time.
You have to base all of them on one point.
And all of them...
THE ELEMENT
Of all the elements, I even think that Tia Sonora
is beyond the condition of an element
to become a dimension of the show.
It's a dimension because it acts in all sectors,
strange examples.
The sound acts in the light,
the sound acts in the personality of the character,
the sound acts in the spirit of the viewer.
So the sound is an incredible dimension,
an incredible work.
For example, in a movie,
these things that are not exactly someone's record,
it's a much more open white screen than a record.
You can do whatever you want,
you have a character that is subtle,
you do something very subtle, very exaggerated.
THE ELEMENT
When he was imagining the lines for each character,
when he knew that it was a boy,
I don't know, a boy who is all weird,
he could say,
hey, he's big, he has a funny voice,
when he's a more mischievous boy,
he goes like this,
so there's all that.
I think it's important to have the visual.
The way to adapt the sound to a piece
that has so much stage movement is very complex,
because if you made a song, the song is perfect,
the dialogue is perfect,
but if you don't give it more than two seconds,
the boy doesn't get to the other side.
And then I had to give it a way to stick the song without,
it looks like a plot,
but two seconds to give the boy's time to get there.
When we rehearse the marionettistas,
when we try to review a little of our experience,
usually I ask to exaggerate,
because the character,
I think it's like in the theater,
the character has several possibilities.
So the boy has to know
how much he sticks his arm,
how he manipulates behind him,
how he walks,
how he's doing well,
how he's not doing so well,
when he's happy, when he's running,
in the theater, for example,
we don't use the mirror,
we never use it in any way,
because what happens is that the mirror leaves you in shape,
you work on the outside,
and basically acting,
we work on the inside.
The character comes from the inside to the outside,
and not from the outside to the inside,
because otherwise he becomes just a shape.
That's why the director's look and the external look
is so fundamental in the creation,
because it makes the role of mirror
a little, to say to you,
look, it's not left, it doesn't go there,
it doesn't come in here,
or your doll is like that,
so this perception of mine,
and I also see the dolls,
it comes from the outside,
who's directing, who's conceiving the work there.
In my case, as a puppeteer,
I got a lot with Alice in hand,
so I went up with her,
went to the office, again,
until I took her way,
what can I do with her?
I can work with her,
so I can't,
so she can sit like this,
she can sit like that.
When we were there in the federal office,
and we had a problem with the doll,
Dad said,
take the doll and go back to the room.
So I took the doll
and went with him,
around the world,
and everything,
he can't be just in the rehearsal,
it's too little.
I was the same when I woke up,
today in the morning,
I'm almost thinking
that I remember feeling a little different,
but
if I'm not the same,
the next question is,
after all,
who am I?
I think I'm
quite curious, like Alice is.
Alice, when she
comes up with a
new sensorial
or visual,
she wants to look at the lock,
she wants to try it.
It's funny,
when
Marc asked the hairdresser to do the tie,
I said, no, you have a symptom,
you're just a friend for a long time,
so get the tie to do it.
Then the tie has a broken tooth,
it's the same tooth that I broke,
you know?
It's not a joke,
it's a joke,
I think the hairdresser is very light
outside of the show.
What can I say?
Because I'm not a manipulator,
many of each of you are sleeping here,
and most of people
can't reprint anything.
It's really cool,
seeing a guy explain all this
can be fucking normal,
with the dark史.
And if you're making a请uy
and in the way,
there can only be guys,
will you still speak your mind?
If you're deft in the cart, you let go.
We have유부
You have to be neutral, right?
If you...
If you talk like that, if you're behind the map, you're alone.
We have dolls here in the world that have been manipulated,
that the doll turns the face of the one who manipulates it.
So there's something that we don't understand very well.
There's the story of Siumi too,
the amount of people who get caught in that doll,
and the doll sometimes responds very well,
and sometimes no.
Sometimes you can review the doll entirely,
as we review it,
and when it's time for the scene, they release the leg.
Then we have to be careful,
you did this, right?
Beauty, you'll see.
Speaking of toy music,
let's go with Groco and Ziggler,
the two singers' dolls,
and they live in a foam house,
and when we travel by plane,
for example, we arrive at the luggage compartment,
and usually we put a plastic bag on it,
and everyone is like,
there's Groco and Ziggler, how are they?
They look like they're well fed.
So when they completely steal the scene,
you can do whatever you want,
playing the guitar,
you look at the people,
they're all looking at the dolls back there.
There's no conversation,
they're a symbol of the children.
We started to realize that after the shows,
they go forward,
just like they do in the world,
and you see the children interacting with the doll,
even if the guy has it on the side,
she doesn't take the doll's eye,
the guy is on the side talking about things,
she doesn't want to know.
The thing is,
the whole space of imagination
that the children have.
And doll theater, for me,
I think it's one of the first ways of enchantment
that a human being can have with art,
because you take it from the little doll
that everyone does at home,
a shadow theater.
We would close the tour world,
and dad would close the door,
and say,
look, everything is still standing,
everything is still standing.
Then he would say,
now I'm going to open the door,
quickly, you'll see that they're going to move.
And he would open it and say,
I saw it, I saw it,
I think I saw it.
It's that story of when we go to the circus,
I think the circus is huge,
and now when we go,
we say,
oh, people, it wasn't that big.
The doll theater, as well as,
I believe that all professions,
when the person dedicates himself
with passion,
and with love, and with affection,
which is practically my case,
it stops being the profession
and becomes life.
I realized
I needed to leave
to be free,
to be confident,
you're with me,
my life is singing,
I'm going to be a doll,
I'm going to be a doll,
I'm going to be a doll,
I'll be a hat later.
7 is 1, I won,
it starts.
5 is 1,
it begins.
Oh, since the time of video cassette,
At home, the brothers play with Marionette
And Annette, who worked at home
Put a hug on the doll's head
Or was it the show I was thinking about?
But when I swing the doll, it doesn't hit
It doesn't hit because it's in tune
The doll also recites poetry
Ha! Poetry recites
From the farm
And it's Ed Bo
Only with Maria
And since he was little
Together with Fantos
He even read the story next to Baratinha
Ok, Ed Bo
Now I'm with Rod
Playing with Marionette
It's not a joke
I'm going to say that
It's not going to the boycott yet
If it were a snake, it was a golden snake
Ha! Only the dreads are missing in the head
Marionette never forgets
I'm the terrorist
Never forget that the source is in your head
The source is in your head
You're on
Beat stop, but you're also my ally
Hey! Mamulengo doido!
Thank you
Celia na mão doido
