BIG AND SMALL WORLDS / Velké a malé světy: 2025

COMING IN 2025: Cosmos and invisible worlds.

The fascinating life of bacteria and the admirable interconnectedness of nature in the artistic interpretation of puppet digital theater.

EXPERIMENTING : Digital drawings, objects and moving stage, plus AI.

Tineola-Puppet theatre in the digital world in 2024:

The live drawing is transmitted via a projector onto the stage. But the light of the projector is not only light, but also a message, a part of the scenography, a source of mood. But it primarily conveys a work of art, which is also still in motion. It works with an actor, but also with a puppet or another object and still casts a shadow.
Light, colors and darkness. It always carries tension...

Wood Wide Web - The world beneath the surface of the forest, about the symbiosis between trees and fungi and other organisms. It's our own world - a world we didn't know much about until digital age

WOOD WIDE WEB

May - June 2024 Berlin

More info about next shows in EVENTS

COMING SOON

Kosmos a neviditelné světy.

Fascinující život baktérií a obdivuhodná propojenost přírody v uměleckém interperatci loutkového digitálního divadla.

Digitální kresby, objekty a pohyblivá scéna a navíc experimentování s AI.

June 22: Vědecké dílny Botanického ústavu ČR

WOOD WIDE WEB

A dreamy look into the nano world below the forest floor.

Invisible life below the surface of the forest. Live painting, shadow play, music and the story of Suzanne.

TEASER in English:

Forest is a cooperating system.

Plants transmit and receive. What they pass on is not just nutrition, sugars, water. These are warning and defensive signals. Trees recognize relatives and preferably support them. The center of events is the mother tree, which has a very important function in the forest and lives in symbiosis with mushrooms, which work as postmen, warehouse workers, or miners

TO SOMEWHERE ELSE

Multimedia performance drawn on iPad Pro

History keeps repeating itself - at all times, people have been fleeing to save their lives.

Tineola Theater, Zabelov Group and Theater Rafael Zwischenraum

TEASER:

The inspiration for our play is based on the historical situation around 1737, the harsh journey of exiles from Moravia and Bohemia to Berlin – Rixdorf in search of basic freedom to live, to work and to practice their faith. The historical story has transformed itself into an emotional performance of escape. While everything is calming and harmonizing, it is disturbed by dramatic situations from the outside - fire, social oppression, or personal conflict in a relationship. Nonverbal images are invoked by your associations, and we do not tell anyone what to think. The "translation" rises out of your consciousness, and you know what it is about.

Theatre has the potential to awaken and communicate within our own consciousness, where simple words may fail. Let us tap into our shared memory. We, the Czechs, have also been leaving under persecutions and building our homes somewhere else. And we needed help. That is what this story is about. Playful, abstract, thoughtful and humorous. 

Wherever we go, people have been living there, wherever we go, there are rules that have been set down, houses that have been built, land that has been parcelled out, the space is marked out by states borders. To somewhere else is an adventure of when we leave because freedom has been lost but there is still strong hope that a place and space can be found that may become our home again.

When working on our play we try to make the starting point our own life experience, situation, or emotions that have left a trace, and pass them on.

We have chosen a form that is typical for our work – a visual message of emotions with live music:  A human can discern things before learning to speak. Only then he learns to name them.  We use associations.  Watching is an act of choice. We never see only a single thing, we always see the relationship between things and us. Our perspective is continuous. The way we see things is influenced by what we know and believe.

Our visual theater is not bringing words, everything emerges from the viewer’s imagination and experience and conveys to him his own associations. 

On the stage is life drawing  Michaela Bartoňová  using Tayasui Skteches Pro

In front of the screen are performing and dancing : Ralf Lücke and Dagmar Spain/

Drums, percusionas, trumpet, and many other music instruments: Jan Šikl/ Singing and accordion player: Roman Zabelov

Choreography: Dagmar Spain and Ralf Lücke

Directing: Azadeh Kangarani and Michaela Bartoňova

Music composed by Zabelov Group

Performance was supported by Goethe Institute and Fond Budoucnosti for Czech-German cultural spring 2017

DRAWING IN MOTION
Digital show about man and animals

Visual Poems

Micheala Bartoňová does magic on iPad with her finger to be passed through a projector onto a large shining screen where it gets accompanied by a shadow of Ralf Lücke, an actor and mime, who joins in the graphic movements. He plays with the projections on his own body. The space, a cave, a city and creatures who thanks to hi-tech iPad appear with ease on the stage to be suddenly erased, deformed or transformed into bizzar beauty.  Nothing remains as it was. Fascinated by visual riddles you feel unable to break away from the story. It's just like a dream...

Drawing in Motion is a crossroad of several artistic forms: acting, masquerade, puppets, movement and music meeting an utterly contemporary digital tool on the stage – a live drawing on iPad. 

VIDEO

Drawing in Motion - Teaser ( please, click to the arrow in the centre of the picture) :

What we see is a projection of live drawing in Paper by FiftyThree on iPad being performed in real time directly on scene. It is not an animation! In addition, an actor fleshes out the drawings with motion sliding into dance, or creating a situation and holding a conversation with the drawing.

MATTHEW BURT: 2015 PRAGUE FRINGE REVIEW – DRAWING IN MOTION

Hypnotic dream like live art piece: total Fringe theatre Brilliance. Drawing in motion is a sensory delight that holds a powerful effect over its audience and will sit in the memory long after the experience. From children of 3 to 83 we are absorbed by the mesmerising beauty and simplicity of Michaela’s drawings as they grow and take shape in front of our eyes, connecting to the deeper part of our subconscious and appealing to the almost aboriginal and essential parts of ourselves. The two performers work seamlessly together, one never compromising the other, to blend what appears on the screen with the mime and puppetry on the stage; performed by the excellent Ralf lucke. This idea of drawing in motion not only comes from the fact that we see Michaela’s skilful hand visibly creating these images live on her ipad but also because they are created in rhythm and time to the music and through Ralf’s playful interaction with the images on screen the piece could almost be described as a dance piece, with a swipe across the ipad changing the scene moving us through the story like a flip book. It’s almost short of a miracle that in the age of distraction with the flash and bang types gadgets and gizmos that we’ve become accustomed to, something so humble and non-verbal could transfix an audience to the point of absolute silence. As it was we sat spellbound by the slow and steady rhythm of the fantastic score and these gradual emerging shapes that reveal themselves to be: tigers, elephants or something stranger. To dismiss it as childlike would be unfair as it contains the potency to limit the chatter in the brain and unlock a greater human need: the need to reflect and focus on one thing occasionally and through this the show is able to carry through its important message of man’s influence over disappearing wildlife without preaching or scolding, which rightfully should be praised. The show is beautiful.

 DRAWING IN MOTION