"They come Every time to see it very small boys. He is amazing whereupon they follow it to attention. If one is put to think, are a few objects on a table to iron, that work like rod puppets, with the table technique. The puppeteers only participate when their faces are under the light. But in fact it is simple plastic means that on that table are transformed into a little worm. He is something magical, obtained after much work, of many tests. To people it hits everything to him: the synchronization, the esthetic one, the well-taken care of manipulation and need. It is that one is - only concludes the magic comes to settle conscientiously on the work. And that is the good thing that I see in the new contributions, because a reflective attitude tends to produce a maturation."
"Huevito de ida y vuelta" - de Silvina reinaudi - Titellaires: Sandra Antman i Mario Marino - És un conte infantil fresc i sencill, de manipulació exquisita i ple de sorpreses agradables, que gràcies a la sencillesa de la posada en i la gràcia i simpatía del seu protagonista, el Huevito, farà les delicies de tot el public. És l'espectacle idealpels més petits, de reconeguda qualitat internacional i amb l'aval de la direcció de la dramaturga argentina Silvina Reinaudi. Una joia pels més petits. En castellá.

Sala "La Puntual"  - Barcelona - 2007


Between great shows and the almost oversized multiplicity of spectacles that are offered to the boys in vacations of winter can pass some works inadvertent that do not show the unfolding of great names nor a millionaire production, but that by their artistic quality deserve to appear in an outstanding place in the preference of it silverplates it infantile.
That is the case of Huevito of roundtrip. Raised for smallest, those than as soon as they have begun to leave the family nest, put in scene a history that astonishes by the high flight that manages to print to a at first sight extremely simple plot.
A little worm leaves the prepared egg to devour the universe. One runs into with fruits of all type, every time in greater amount, and it devours as them crosses, it investigates, it discovers and it enjoys the world surrounds that it. It is sent from a palm to the sea, and the water, as an increase lens, allows to see us enjoy it the pleasure to swim. Or it jumps on xilophone of mushrooms with the contagious joy of music. Until, clearly, sae turns into butterfly and undertakes a flight of a two that augurs a new beginning of the cycle.
Alejandra Bertolotti and Tamara Schmukler with exceptional ability the rods, practically exhausting the imaginable possibilities rambling of the little worm, with a table to iron like horizon of the singular altarpiece. They are in addition dumb witnesses who reflect in their gestures the range of moods which they invade to the adults against the wonderful vitality of the first childhood. The music of Sergio Blostein also makes its route by the diverse sorts. The author and director Silvina Reinaudi, well-known of the boys through the manipulation of the Marimonia puppet in Cablín during several years and author also of “the gatópera” brilliant Sietevidas, decided here on a format of camera and a public for whom usually she thinks that she is enough a few elementary images. The great profit of Huevito of roundtrip however is to put in scene a history that the form reflects to face the life of smallest with an esthetic one and a conceptual elaboration that only can generate artists of solid trajectory.
Behind the simplicity of the plot line, of the presence of a protagonist unique, without more antagonists than the life that it has ahead, a so vast world of experiences in projections hides then as the one of that boy who begins to take his first steps.

Juan Garff - Diario Clarín - Argentina - 27-07-1996

SILVINA REINAUDI / The fable of the puppet

If you like to create this it is your history. Once upon a time an Argentinean, Silvina Reinaudi, that came to Cantabria to distribute a course on puppeteer dramatic art. It did it in Laredo and Viérnoles. Monday in Santander…

Once upon a time, in a country very distant call Argentina, a woman able to count histories only with his hands. Silvina Reinaudi, as therefore it were called, had the capacity to take any object from its pocket and to turn it into a personage, and with him, an entire world in which lived adventures and misfortune through their hands. That one was its form to see the reality, with fantasy, because it thought completely without information that much imagination was necessary to change “this world that is bad fact”. And thus, behind altarpieces where their hands and their fingers were only seen, it went equipping with soul to objects like a glove, a napkin of paper or a doll until becoming, after 35 years of profession, a puppeteer.

Once, Silvina Reinaudi rose an airplane and crossed thousands of kilometers until arriving at our region: Cantabria. It wanted to share his way to see the life with much people it did and it through courses with professors, with the aim of teaching the basic rules to them of the office, “that go beyond the manufacture of puppets”. It did it in Laredo it did, it in Torrelavega and still it would have to do it in Santander. In all these places, the woman who spoke with the hands wanted to transmit that as old game to them of children as juglares and that was the form simplest and accessible “to connect with the sensitivity of one same one”. She said that to his vital principle era to make of the art a freedom space, “where anybody they ask to him because she does what does”.

The art is difference

But Silvina had a still greater persistence. Whenever it showed behind a screen his hands inserted in a sock or a fabric piece, or simply naked, it wanted that smallest (and the not so young ones) they would dare to being different. For it, one invented thousands of games in the factories that it distributed in Cantabria, as to recreate with the movement of a hand the process of growth, development and death of a seed, “without making interpretations psychological”. Its intention was that, from an object, to give wings to the imagination so that all we dared to being different. For this reason, never it doubted in inviting to anyone to ask itself until where a burner could arrive, or a currency, or a scarf or good “puppet”.

It was conscious that all the people could not be artists, but that reality did not restrain to him in its persistence on which “all we would have to live more connected to sensitivity and to the emotions that surround everything what it is worth the trouble to be lived”. For this reason, embraced to his puppets and being worth of his enormous capacity to see a world with scents and colors behind an inert and smooth table, Silvina it worked so that the use of the word was democratic, so that “all could be artists and nobody slave”. But, enslaved of what?, they asked some to him without including/understanding to what talked about this titiritera and scriptwriter of television. It, smiling, resorted to an animation film to explain the immense potential of something “so ascetic” as a doll. And she said: “In “Monsters S.A.” there are very beautiful things if the one good sight. When maintaining separated to the children of the monsters, those that become rich are those of always. However, when uniting one sees them that the laughter enriches much more that the weeping, the shouts, the brought about fear or the terror”. And this, for Silvina, supposed the faithful reflection of a reality, since “if you maintain the art of people separated, the creation becomes a consumption element that, with the shouts of the children, enriches to some”. Smiling, extending the syllables of his Argentine accent, it pronounced to four winds the necessity that “the art must be more united to the person who never, so that it does not become one more merchandize made by the society”. And while it reviewed the thousands and facets that hid behind the creation, of the sensitivity of the people, Silvina animated all “to feel music singing it, to go deep with curiosity in which it affects to us” but, mainly, to fill the emotion life to be able “to be free”. Because that was the art for her, “a freedom space where to be one same one, where to look for another way, the one of the creation, not the one that they give us precooked by the society of the needs”.

Infinite worlds

And in that surge of ideas, of senses and sounds, Silvina it went of here for there taking his puppets, inert objects that, with the magic of the fantasy fill of life until bringing about fear or compassion, hatred or affection. Puppets that recreate a deep well or a full pool of ducks, or mountains or persecutions. Infinite worlds that Silvina conquered with the power of abstraction of the puppets that are not another thing that “an object used voluntarily with a dramatic function”.

Prisoner to its puppet, Silvina continued discovering infinite histories that the world hides until making appear them by its hands. In Cantabria, it gave his knowledge to professors of different centers and promised to return to continue pushing the creators to create. Many, have begun already it to do. And colorín, colored….

Marta San Miguel - El Diario Montañes - 16-03-2007 - Cantabria - ESPAÑA