SpanishEnglish

French

Italian

German

Japanese

Chinese

Portugués

  • Visit Segovia
  • Visit Segovia
  • Visit Segovia
  • Visit Segovia
  • Visit Segovia
  • Visit Segovia
  • Visit Segovia
  • Visit Segovia
  • Visit Segovia
  • Visit Segovia
  • Visit Segovia
  • Visit Segovia
  • Visit Segovia
  • Visit Segovia
  • Visit Segovia
  • Visit Segovia
  • Visit Segovia
  • Visit Segovia
  • Visit Segovia
  • Visit Segovia
  • Visit Segovia
  • Visit Segovia
  • Visit Segovia
  • Visit Segovia
  • Visit Segovia
  • Visit Segovia
  • Visit Segovia
  • Visit Segovia
  • Visit Segovia
  • Visit Segovia
Home»Microsites»Francisco Peralta's Puppetry Collection

Francisco Peralta

The work of Francisco Peralta has reached this Santiago Gate for reasons other than chance.

phoca thumb s peralta con ttere 470

Segovia has a long tradition of art teaching, from the creation of a drawing school by Espinosa de los Monteros in the 18th century with the aim of fostering the artistic knowledge of the numerous craftsmen in the city and its surroundings, to the founding in 1977 of the Escuela de Artes Aplicadas y Oficios Artísticos [School of Applied Arts and Artistic Crafts], located in the Casa de los Picos [Diamond Tip House].

During the month of August in 1977 and 1978, Francisco Peralta delivered several seminars to teachers from the Segovian school Domingo de Soto on the craft of puppet-making. These courses, organized by the ICE of the Autonomous University of Madrid, would be the precursor to him teaching casting and modeling from 1980 to 1984 in the School of Arts and Crafts.

With his pupils, in an experimental workshop, and with the collaboration of the well- remembered Segovian group Hadit, the production of the new version of Gonzalo de Berceo's El Clérigo Ignorante [The Priest Who Only Knew One Mass] came about. Together with El Romance de la Condesita [The Little Countess's Romance], it was presented at the First International Festival of Zamora.

In 1985, he returned with his group Peralta del Amo to participate in a project which Julio Michel had conceived: Titirimundi, one of the best puppet theatre festivals in the world. From this first international festival, Francisco Peralta and Matilde del Amo (his wife) would attend every year, on some occasions performing, on others wandering through squares, courtyards and theatres moved to emotion.

Such is their enthusiasm for this city —so committed to puppetry— that Peralta has made clear his wish that Segovia play host to his creations. The City Hall and the Fundación del Patrimonio Artístico de Castilla y León [Foundation of the Artistic Heritage of Castile and León] have accepted his generous offer and made it a reality today in this curious museum.

Francisco Peralta's Contributions Puppetry in Spain

Educational Application of Puppetry

phoca thumb s peralta con ttere2

In 1956 very few considered the use of puppets as an educational resource. The making of a puppet involved the elaboration of a drawing, modeling, the use of tools, simple calculations, music to accompany their movements and a certain understanding of literature and theatre. Francisco Peralta was able to transmit all this in his modeling lessons delivered in the school Santa María de las Nieves, in Madrid.

Plots of Classic Works and Musical Pieces

The plots of puppet theatre tended to be children's tales of poor literary quality, generally invented or adapted by the puppeteers themselves. However, Francisco Peralta would carefully select pieces from the Romancero Popular [Spanish Ballads] (La Condesita, [The Little Countess], 1957), musical pieces (El retablo de Maese Pedro [Master Peter's Puppet Show], by Falla, 1960) or works by classical writers (Los melindres de Belisa [Belisa's Affected Ways], by Lope de Vega, 1962; El clérigo ignorante [The Priest Who Only Knew One Mass], by Berceo, 1969). Contrary to the puppets hounded by ogres and witches, Peralta revealed to youngsters the high culture plot. Whenever he selected children's tales, he sought for texts of extraordinary literary quality, such as Frederick, by Leo Lionni, If I were a grown up..., by Éva Janikovszky or La Cometa [The Green Kite], by Montserrat del Amo.

Precise Construction and New Manipulation Techniques

In the creation of his puppets, Peralta transmits his hidden passion, thorough perfection and practical resolution. For him, drilling with a small bit has to be done with

phoca thumb s lanoche

exactitude so that the puppet can perform the desired gesture: "I don't consider myself a perfectionist. I just want to achieve and show clearly what my puppets must express in each play. Even though it doesn't seem to be, the point is not to make them perfect, but expressive".

How can we get a movement to express a little countess's sigh or the joy of an encounter between two young lovers? Peralta does not resign himself to a single technique, but continuously invents new techniques of manipulation.

Master and Innovator of Puppeteering
He has delivered numerous courses to teachers, students from art schools and puppets masters.
There are teachers who are able to transmit their knowledge and teachers who, in addition to this, teach how to innovate. Francisco Peralta combines both qualities. His teaching has motivated both the creation of new companies and aesthetically influenced others.

Francisco Peralta, Sculptor and Puppeteer

1930
He was born in Cádiz. His passion for puppets was aroused by attending the performances of the Teatro de la Tía Norica in Cádiz. He studied at the School of Arts and Crafts.

1949
Peralta moved to Madrid to study Sculpture in the San Fernando School of Fine Arts. His M. A. was in the educational application of puppets.

1951-1953
He created his first puppets, with which he released the play Pascualín. He attended the show performed by Puppet Parade, a British company which led him to discover the technical possibilities of the master control stick.

1953
His artistic activity led him into the field of teaching: during his modeling sessions, he taught the construction of puppets in the school Santa María de las Nieves in Madrid (1955-1980 and 1984-1990).

At the end of the 1955-1956 academic year, he directed a performance of the play Bastien and Bastienne, by Mozart and every year until 1966, he carried out a puppet theatre production with students and staff from the school (among whom we can mention Luis Pereira, Juan del Amo, Eugenio Bustos, Mari Vega, Enrique Tablado and Matilde del Amo).

1962-1969
He married Matilde del Amo. He took part in the films Dulcinea, by Vicente Escrivá, in Cabriola, by Mel Ferrer and in several advertising trailers.

1971
His students from the school Santa María de las Nieves (Madrid), Carlos Rodríguez, Carlos Marqueríe and Juan Muñoz suggested the possibility of performing with the company Marionetas de Francisco Peralta, a company which would perform at universities and theatre and music festivals.

In this year also took place the exhibition of his puppets in the Círculo de Bellas Artes de Madrid [Madrid Circle of Fine Arts], together with performances of Bastien and Bastienne.

1975-1976
He participated in the 3rd International Festival of Barcelona. With his Retablo de Maese Pedro, he participated in the 25th Granada International Music and Dance Festival, the year of Falla's centenary, the 7th Segovia Chamber Music Week and in the 7th Corpus Chamber Music Week of Lugo. In all of these he performed with the TVE Spanish Chamber Association conducted by Odón Alonso.

1980-1984
Teacher at the School of Arts and Crafts of Segovia. Together with his students, he released the new version of Romance de la Condesita. In 1982 he formalized the foundation of his company named Marionetas Peralta del Amo, in which his wife and daughters took part.

1984-1990
He returned to the school Santa María de las Nieves (Madrid) and directed several performances at international festivals.

1990
He was awarded the Medal of Merit in the Fine Arts.
1992
He made an anthological exhibition at the 10th Tolosa Festival.

1994
He exhibited at the World Puppet Festival Charleville (France).

1998
The City Hall of Móstoles (Madrid) ordered a monument to the puppeteer.

2008
UNIMA* Spain proclaimed Francisco Peralta and Matilde del Amo Honourary Members.

*(Unión Internacional de la Marioneta) [The International Union of Puppetry]

2009
His name appeared as a single entry in the Encyclopédie Mondiale des Arts de la Marionnette [Worldwide Encyclopedia of Puppetry Arts], together with the main puppeteers of all time.

2009-2013
He continues his research into new techniques for perfecting puppet movement.

 

 

Banner
Banner
Banner
Banner
Banner
Banner
Banner
Banner
Banner
Banner
Banner
Banner
Banner
Banner
Banner
Banner
Banner