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The company Les Trois Clefs develops, since your first job, silence (2006), a search in dialogue the lively and lifeless, the actor and the puppet, in a scenic writing subtle rhythmic and fed by the music, almost always performed live. With a title more than suggestive, that first job, even though he left a dramatic text, transposed in gesture, movement, sound and image the weight and the poetry of the language so unique of Federico García Lorca and your House of Bernarda Alba.

The relentless order of protagonist Bernarda Alba – “Silence! (…) We will drown in a sea of mourning. (…) Do you hear me?! Silence! “-becomes here the text and pretext of actors-acrobats-handlers, at the same time the basis on which stands the show. Thus, life-sized puppets share a stage with acrobats hanging from tissues, in a subtle musical dramaturgy to tell without words, to say the unsayable.

The following works, La Gigantéa (2008) – in partnership with Amnesty International – and Macondo (2010), explore other poetic stimuli, but always in continuity, development and improvement of a musical and visual dramaturgy, a language built in addition to the words.

In your theatre of animated forms, where circus, music, puppets and objects of various weaves together the story of the scene, the Group puts in question the craft, the technique and the importance of the actor in the scenic game. As in the theatres of Gordon Craig and Tadeusz Kantor, we leave the doll/puppet, to draw and to transcend the game artist of flesh and blood: the doll as a model for the actor. The puppet, the death metaphor (only possible inhabitant of that cold and lifeless body) would be, according to Kantor, the only way to represent life in the theater.

The music is another indispensable element to the construction of dramaturgical our creations. Performed almost always live, she is the rhythmic base and pulse on which underpin the set; at the same time that intensifies the action, the song opens multiple emotional and cognitive. Thus, the dual interaction actor/musician and image/sound build the poetic plot of the show.

In 2013, is again in García Lorca we went to get the inspiration for this new work. No longer in Spain, but in the United States, the era of silent film. Not in a work so well known and celebrated as the House of Bernarda Alba, but in a short text, little staged and yet ignored by most of the public: El paseo de Buster Keaton. Reinventing the language of the Andalusian poet, the show part of the central figure and emblematic of Buster Keaton and makes dialogue, in your “ride”, with the universes of Samuel Beckett, Vic Muniz, Estamira (real heroine of the film of Marcos Prado) and so many other elements that converge in a Poetics of finitude, of exclusion and of old age, of life that reinvents itself from the trash and debris.