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No Good Guys, No Bad Guys
"FIO" (which means "string" in Portuguese) is a play interwoven with small scenes. A tap dancer who wanders through the night, a man who picks papers and stories, a popular musician, a simple passer-by. No heroes. No good guys, no bad guys. The characters are common people, anonymous or almost so, who wander around the streets.The scenes are commonplace city ones, to which the puppet renders a delicate and poetic garment. "FIO" is not an "instructive" play. It does not have the intention of teaching a lesson.There is no "moral of the story", just stories. "It's all stories", as one of the characters puts it." In an "instructive" play, there is always a "moral of the story". There is always a hero. In real life, however, there are no heroes. No one is always right or always wrong. Therefore, "FIO" is not an "instructive" play in the vulgar sense of theword, but it does have an educational value. It stimulates each spectator to a sharper observation and a more poetic view of common life
"FIO" opened on December 1992, at the "Teatro da Praça", in Araucária, Paraná, having performed various seasons in Curitiba, at the "Teatro Guaíra" and the "Teatro Ateliê 87". It then initiated a series of participations in festivals and events of the national and international circuits. "FIO" represented the state of Paraná at the "Mostra Maria Mazetti de Teatro de Bonecos" (Maria Mazetti Puppet Theater Exhibit) - Rio de Janeiro, Oct. 1993, "Festival Internacional de Teatro de Bonecos de Canela" (Canela International Puppet Theater Festival) - Rio Grande do Sul, 94/95, and "Feira Nacional do Livro Infanto-Juvenil" (National Children's and Teenager's Book Fair) - Ribeirão Preto, Oct. 1994, always achieving great success in terms of box office and press reviews. With more than 800 presentations, it has toured various cities in the states of Minas Gerais, Rio de Janeiro, São Paulo, Paraná, Santa Catarina, and Rio Grande do Sul.
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TOPIC
More than just a simple one-man puppet show with urban themes, "FIO" is a play about the relationship of the puppeteer with the poetic universe of urban life. The tradition of the puppeteers itself is that of strolling artists, who pick up on the street the poetic material for their inventions and develop it into the final product of their work. It is this relationship between the puppeteer and the street that the play examines.
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SYNOPSIS
In the settings of a great big city (at no particular time and place), the puppeteer confronts each of his puppet-characters: a tap dancer that wanders in an alley, a papers and stories collector, a popular musician, a ventriloquist, a simple passer-by, a charming madwoman. This confrontation, as suits the theater of animation, is almost totally non-verbal; the word comes up only ocasionally, and gesture plays a major role. And one never loses sight of the "game" of theater, for everything happens in an overt manner. The puppeteer is always visible in his relationship with each puppet, as one more character in the play. This makes "FIO" an actor play as well. This type of script, with many perspectives, allows the play to be seen by various audiences, of different age groups, without restriction. It is not, therefore, either a children's an adult play, but a work that spectators of any age will enjoy in their own way.
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