L’Ateuchus (France)

“No Rose”

25 and 26 May at 4pm (Saturday and Sunday)

Concept, direction, puppets, scenography, puppeteers: Virginie Schell, Gabriel Hermand-Priquet Assistance in construction: Christiane Schell, Anne Dumont Music: Vincenzo Petitpierre Lighting Design: Dominique Ryo Photographs: Whenyouhavetoshootshoot Technique: Chinese hand puppets For audiences over: +8 Running time: 50 min. Language: Some words in French and English


On a white Sunday, at green tea time, Lady Rose is cleaning her pink house, waiting for her dark guest. He enters and says with a voice from beyond the grave: "it’s time, come with me". But no Rose without a thorn... A thorny fight is coming.

Between Puppetry traditions and the classics of Cinema, Rose and “Noir”, feathers and leads, beginning and end, L’Ateuchus presents an existential fit of one of the key characters of the puppet repertoire: Death!

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Founded in 2003 by a puppeteer, a dancer, and a musician, L’Ateuchus is born from the common will to question and experiment together the transversality of their artistic practices. Since the beginning, the Puppetry, as multidisciplinary art, is the place of meeting of those practices.

With the Chinese hand-puppet show “No Rose” written and played by Virginie Schell and Gabriel Hermand-Priquet, L’Ateuchus goes further into these experiences by playing on traditions, conventions and clichés of the Puppetry.

In parallel, L’Ateuchus provides workshops and diverse interventions: Nationnal Education, Deutsche-Französiche Jugenwerk (DFJW), Théâtre de la Cité internationale (Paris), amongst others.

Gabriel Hermand-Priquet, one of the main elements of the company, is a graduate of the École Supérieure Nationale des Arts de la Marionnette (ESNAM) and has since collaborated with various companies in circus, dance and theatre. He frequently works with the New Yorker director Roman Paska, and is a member of his Dead Puppet Company. For some years, he has devoted himself to the study of the traditional Chinese hand puppetry with the master Yeung Faï, and has used this technique in several productions and performances, notably this production “No Rose”.

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