“Pinocchio” is a metaphor for how mistakes can also shape man.
Mistakes aren’t necessarily something bad; they are often the only way to teach us how to better understand and change our lives. As Italian writer Gianni Rodari once said, “Mistakes are necessary, beneficial as bread, and often beautiful, just look at the Tower of Pisa.”
“Pinocchio” is not an ordinary performance. It is a performance that immerses itself in the puppetry world, immerses in the origin when the puppet is not yet an entirely manufactured and vivid object, but raw, rough material. In Pinocchio, the material is, of course, wood, a precious material that has accompanied humankind almost since the beginning. Wood, which barely promises to turn into something but with the help of the puppetry magic, we can see individual characters from the story, is joined by already made puppets inspired by old masters. In this adaptation, we return to the carpenter’s workshop where the carpenter’s tools revive, and pieces of wood on carpenter’s table become a world of its own. Pinocchio goes on a journey, and we on an exploration of puppetry approaches.
