Oriane Mauk studied the work of Alice Laloy and the show Pinocchio (live) in the context of the review K. Trans-European review of philosophy and arts of the University of Lille.

“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

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“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

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“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

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By Daniela Bach, April 2019

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