In Italian, “Pupo” refers to both the child and the puppet: Sofia Nappi’s new piece is inspired by Pinocchio, the wooden puppet who would so much like to be a real boy. The focus is on the metamorphosis of the puppet: how does this slow transformation from one state to another take place? How does the naive child grow up and no longer allow himself to be manipulated by others? Carlo Collodi’s world-famous children’s book inspired the young Italian choreographer to create a modern coming-of-age story, through which fairy-tale characters such as the fox and tomcat, the talking cricket and the blue fairy also haunt in associations.

Sofia Nappi’s dance language combines the wild, loose flow of Israeli dance, as we know it from Ohad Naharin’s Gaga language and Hofesh Shechter, with elements of breakdance such as locking or popping when it comes to the jerky movements of the puppet. With minimal gestures and flashing leitmotifs, embedded in the often mirrored, unbridled desire to move of a young person, the choreographer refers to personal growth and gaining of awareness: how the innocent, curious child awakens in the world, how it meets people and plays with them, testing its limits. How then character encounters the first temptations such as greed, how he is gullibly deceived, comes to terms with himself and finally embraces the power of forgiveness. Through his own realisation and though the help of leading figures, Pinocchio finds himself: choreographically the individual connects to collectiveness on a mantra -like music that symbolises a moment of transformation.

The strongly rhythmic musical collage, to which Pinocchio dances, ranges from the folkloristic sound of a guitar to solemn, mystical sounds; at the end, the melancholy of memory resonates to a delicate Chopin nocturne. Nappi does not pantomime, but integrates minimalist images into her dance – the crazy twitching of a marionette or the pulling of strings and manipulation, the lightning-like growth of a long nose, seductive tango steps or animal movements. White face masks that mysteriously appear and disappear on the faces allude to the stereotypes and social criticism of the old Italian commedia dell’arte. A strong, atmospheric lighting design sets the scene for the central hero and all the influences on him.

“Pupo” was created for adults, but will give people of all ages something to look at and think about. The choreographer sees the story of the transformed wooden puppet as a lifelong attempt to become the best version of oneself. We should never forget the child in ourselves, the impulsive, playful wooden puppet that we once were, the exuberant and irrepressible desire to dance we once had. “The wood from which Pinocchio is cut is humanitas, humanity” – this is what the Italian philosopher Benedetto Croce said about the iconic figure of the little wooden puppet who wants so much to be a boy.

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