physical and puppet composition
A scenic composition somewhere on the borders between movement and a puppet theatre. The performance is based on a uncommonly rigorous dramatic “composition“.
A woman is drawn into a conflict which she can neither win nor lose. Not this time, not ever. Confronting herself - face to face with her second, no less tangible image. Which of the two commands and which conforms? Which is dependent and which makes decisions? At the beginning one against the other, at the end, both tangled in one.

“A woman. Facing herself. Alone inside herself. Control, submit, depend, decide. Struggle. Inner child. I, you, he, she, they. It doesn’t matter. Only one. One : One. Freedom. Reconciliation. Rice.”
Kristina Madericova

The actress gradually abandons the principle of illusory guidance of the puppet. The mannequin with a moving hand is turning into a partner who progressively develops mastery in gentle movements. Her wooden fingers impudently rummage her partner’s handbag, examine her tissue, the puppet begins to imitate womanly provocative movements and gradually becomes independent. The shift in the relationship equilibrium becomes more apparent: puppet, the intruder of protagonist’s SELF wins and takes control…
“…Kristina Madericova’s creation is a remarkable puppet composition characteristic of careful and gentle manipulation of the puppet, full of witty ideas…”

míč: Puppet with a filigree hand, Divadelní noviny
Produced by Damuza Studio, premiere September 11, 2007

with the support of: Ministry of Culture, Czech Republic, Prague City Council and Divadlo Na zábradlí

photo Irena Vodáková photo Irena Vodáková