With a view to bringing hidden manipulation and special effects developed by cinema back to the theater stage, the company Yôkaï launches a research program called Invisible Awakening. The program aims to harness the possibilities of concealed puppetry for the conception of shows on stage and taps into the technological advances that have emerged in the world of special effects over the last decades. In this way, repurposing and reinventing these on stage can enrich approaches to puppetry and its legacy through a different lens.

​

A practitioner of both puppetry and magic, Violaine Fimbel puts the odd and the mysterious at the core of her creative work, which is driven by a quest to puzzle and enthrall the audience. She believes that the more art forms and mediums intersect, the more beautiful and powerful the resulting metamorphosis will be.

​

“The universe of magic is not only populated by shadows and ghosts : it is, in essence, open to all metamorphoses. All that is fantastic comes back finally to the double and to metamorphosis.” 

Edgar Morin, The Cinema or the Imaginary Man