A report movie made by Diversions Magazine, in Comédie de Colmar.
“The International Biennale of Puppetry Arts, supported by the Mouffetard – Puppet Theater in Paris, invited Alice Laloy and her company S’Appelle Reviens to present for the first time the performance Pinocchio (live). The proposal is absolutely successful, and built, in spite of everything, an expectation that resolves into a magnificent finale. Beautiful, intelligent, fascinating: welcome to the border cloud where the child and the puppet are confused! ”
An article by Mathieu Dochtermann for Tout la Culture, May 2019
“Pinocchio (live) is a continuation of this research on the hidden life of the puppet. (…) Like the exhibition [Pinocchio (s)], she anchors fiction in life. In a daily life that participates in a kind of magical realism. Strangeness all the more disturbing as it is based on a rejection of any illusion of reality. For more than the story for children which she takes the title, it is his own creative process that Alice Laloy gives to see in Pinocchio (live). Through a ritual that takes the usual cycle of life and death of the puppet backwards. ”
article by Anaïs Heluin for Scèneweb, May 2019
“As she can not reasonably give life to a piece of wood, the artist decides to reverse the process. Spectators watch, live, a metamorphosis that is a little cold in the back. Lying on work benches, the children are transformed into inert puppets, who re-animate themselves and reclaim their bodies through dance. Live puppets? Dead children? “Pinocchio (s) live” crystallizes all the ambiguity of this demanding art. So much so that in the end, we do not know who pulls the strings. ”
Article by Emeline Collet for Le Parisien, May 2019
By Daniela Bach, April 2019
“Alice Laloy is looking for a language. She writes by staging.
Her approach is nourished by a dialogue between a concrete and practical logic that she maintains by “tinkering”, and a mental logic of “reverie” evolving through free associations. His theater is populated with images. With the performers and the subjects she brings together, she tries to make these visual sensations tangible according to a logic that belongs to the world she orchestrates. In his work, everything is transformation, metamorphosis, visual and sound. ”
L’Œil de la photographie, April 2019
“In joyful chaos, “Ça dada” tirelessly praises the creative impulse. Wow!
They’ve done it! They’re mad! They have pulled off the impossible task of reproducing a one hundred year old artistic blitz!”
“There is as much excitement as there is laughter in the aisles. As usual with Am Stram Gram, thrilled parents delight in the subtleties and cultural references whilst children giggle at the onomatopoeia and the slapstick inventions. There is something for everyone, everyone’s creative juices are unleashed, inspiring us to become the poet of our own insubordination.”
La Tribune de Genève
“How delightful to witness the untamed roar that rises form the children when the walls fall apart in a succession of exquisite images, or their shrieks of joy when the time comes to play at the great game of Nothing. We are left sighing with contentment long afterwards. Decidedly, Dada is a true tonic.”
Paris Mômes 07/04/2018
“Ça Dada is deliciously insane… In an unbridled, thrilling outbrust, Alice Laloy and a wonderful trio of actors completely reinvent the spirit of Dada. The Dada theatre shatters everything and turns it on its head. In a rampant, ransacking esthetic, where paint flies and an array of inventively reclaimed objects appear and accumulate, images of chaos and of breathtaking beauty appear before our eyes…”
“It is a difficult task to put into words a performance in which such a powerful breath of freedom blows away all the established codes of theatre, and others along with it. Thinking outside the box is at the very heart of Alice Laloy’s remarkable, original and flabbergasting work.”
Telerama Sortir TTT 04/2018