10th International SAMPO Festival will be held 26.-30.8.2026!

La Compagnie s´Appelle Reviens (France):

Pinocchio(live)#3

No, you’re not dreaming – these really are children being transformed, one after another, into puppets. In the factory imagined by Alice Laloy, Collodi’s famous tale takes a very different turn. Gone is the Blue Fairy who brings a wooden puppet to life; here, it is the living who are turned into inanimate, standardized objects.

Alice Laloy envisions a dystopian society in which children undergo a rite of passage through an assembly line. Step by step, adults shape them into perfect puppets. Yet it is through their own will that the children rediscover movement, freeing themselves from the strings that animate them, until they achieve complete emancipation. A stage performance designed for 22 performers, children and adults, and two teenage percussionists. The performance is the result of a photographic research project conducted by Alice Laloy between 2014 and 2018 entitled Pinocchio(s).

Genesis of the project

" What does the body of the puppet-child look like when it transitions from its wooden body to its flesh-and-blood body? I imagine there is a tiny fraction of time when one no longer knows whether they are facing a puppet or a child. "

Photographic research Pinocchio(s) In 2014, Alice Laloy was invited to design the first cover of a magazine dedicated to pup- petry. She took up the myth of Pinocchio and reversed the process by transforming her child into a puppet. She took the photo Pinocchio 0.0. which was to be the starting point of a visual research project involving a number of series of photos of children portrayed in puppet-like inanimate poses, in France and in Quebec. In 2017, in partnership with the Institut Français via the scheme “Hors les murs”, Alice Laloy travelled to Mongolia where she continued her work on the disarticulation of bodies. The art of contortion, a cultural heritage, is taught there from childhood. She collaborates with three contortion schools in Ulan Bator. The exhibition Pinocchio(s) is composed of 45 photographs and was pre- sented at the Festival Mondial des Théâtres de Marionnette in Charleville-Mézières, then at the MAC in Créteil, in Quebec (Fiams), and in Sweden.

From photography to performance Through her desire to pursue this process, which by nature is constantly evolving, the project has become a stage performance in which she portray children in the process of transformation, presented in a succession of three movements: Alive, Inanimate-Inert, Animated.

PINOCCHIO (LIVE) The photographic work has evolved into a theatrical, choreographic, and sound creation. The project. The performance stage the whole process of transformation and playing with the procedure: deconstructing it and bringing movement back into form. Using the ingredients provided by the research in order to bring perspective to living bodies and lifeless bodies. The inanimate and the animate. The subject and the object.

During the process of stage creation, the frontier between the inanimate and the living is abolished. It is a game involving the creation of a language and of tools within a universe where the distinction between subject and object is blurred. The object is embodied by the human, and the human is enhanced by the object. Each one is the continuity of the other one.

In order to create, tools, objects, staging and bodies are approached in the same manner. The question at hand is that of creating a coherent and independent universe in which these distinctions no longer apply. We are projected into the future. In order to feed her research, she play with the inspiration of a science-fiction oriented imagination. The stage performance emerges from a framework of rhythm and sound. The movements are synchronised with the sounds, without us being able to distinguish which one triggers the other. Rhythm becomes movement, and vice versa. Objects and bodies are sound-based.

The creation process is coded and itself becomes a form of organic machinery containing both the human and the object. The elements on which the children are placed, workbenches and chairs, become moving spaces. At a given moment we find ourselves in front of a toy factory production line, in the next we are looking at Tadeusz Kantor’s Dead Class, as we sit opposite a circle of puppet-children who look at each other or look back at us.

The current production, that will be seen in Helsinki, is the third and final version of Pinocchio(live), hence the number #3 in the name. It had its premiere in Charleville-Mezieres in France, on the world renowned puppetry festival - Festival Mondial des Théâtres de Marionnettes – in 2023.

Performance photos - scroll right to see more

https://www.sappellereviens.com

La ruée vers l´or (Canada):

ARCTIC TALL TALES

At the age of 19 years old, the young Danish boy Jørn Riel landed for the very first time on the North-East coast of Greenland. He spent 16 years there alongside a dozen of extraordinary trappers and immortalized their adventures in 10 books and 88 short stories with his characteristic humor. His work has then be translated into French by Susanne Juul and Bernard Saint Bonnet and adapted into graphic novels by the illustrator Hervé Tanquerelle and the author Gwen De Bonneval. By bringing the ARCTIC TALL TALES on stage, with puppets and live music and sounds, La ruée vers l’or carries these legendary tales to the theatre audience.

The daily life of our protagonists strangely echoes the situation we are currently living in : confinement, isolation, loneliness, a sense of time that is infinitely stretching out, the limitation of resources, rationing, but also solidarity, mutual aid, creativity, autonomy and resilience. Now more than ever, it seems to us particularly relevant to give a tribute and a voice to these true polar heroes.

In this virgin and uninhabited space, these men form a strange, eccentric and marginal society. Constantly confronted to the forces of nature, they are pushed to their limits. But through their breathtaking adventures, we are above all witnessing their deep fragility, their anguish and their loneliness. In this arid environment, they are forced to create a new social model, more open, with no expectations and judgments. It is this sincere and inspiring camaraderie that we want to bring to light in our show.

When we ask Riel to describe his work, he mischievously replies : "A tall tale is a true story that could pass for a lie. Unless it's the other way around." We want to let you decide on your own scenario...

SYNOPSIS

At the dawn of the 1950s, a handful of intrepid hunters is scattered across the north-east coast of Greenland. Confinement, solitude, rationing, harsh weather… Not always easy to keep a cool head under such conditions. And yet, the vast wilderness, the majestic snow-covered expanse and the unlikely tales of our trusty comrades leave us longing for adventure and freedom. Are they truths, lies or myths? Who knows? One thing is certain : these extraordinary tales will most certainly charm you!

ARCTIC TALL TALES are originally a collection of short stories filled with humor and humanity, as well as a series of delightfully addictive comics. But here we present you with a larger than life version, unlike you’ve ever seen, where puppetry, storytelling, music and soundscapes are blended to create a universe both uproarious and poetic.

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https://annelalancette.com/larueeverslor/

KNUTKiT (Ukraine):

Behind the Mask (Поза маскою)

“Behind the mask” is a visually expressive work that uses the language of puppet theatre to reflect on modern realities. The performance blends four systems of puppetry expression: mask, shadow theatre, tabletop puppet, and improvised object puppet.

Without words, through movement, light, and form, the performers explore themes of routine, collective consciousness, dictatorship, and the personal impact of war. The story touches on forced military conscription, the solitude of mothers raising children alone, and the fragile persistence of childhood dreams in a world shaped by trauma and transformation.

The mask is a symbol with a deep philosophical meaning, which simultaneously indicates the loss of individuality and the desire to hide the true “I”. Modern performance art, exploring this phenomenon, poses the question: are we really ourselves, or are we just playing roles created by social constructions? The mask becomes a tool that personifies our social roles and the way we are perceived by society. It allows us to protect not only our own emotions and experiences, but also our true essence, adapting to external conditions.

Often people are “doomed to be free”, but prefer a safe existence within the framework of social conditions that hide their authenticity. Similarly, in performance, the mask becomes a metaphor for the alienation that people face, trying to meet social expectations and standards. This “deceptive quantity” will help people protect themselves from the risk of being misunderstood or rejected, creating the illusion of stability.

The participants in the performance, dressed in white masks and jackets, symbolize this alienation and make the audience think about their own social roles and masks. The white color of the masks indicates anonymity and purity, as well as the fact that behind this external “emptiness” something much deeper is hidden. At the same time, white is a symbol of neutrality - it is a color that is not tied to personal characteristics. Thus, the mask in combination with neutral clothing depersonalizes the individual, making him part of the mass, rather than a unique feature.

The interpretation of this image may be different. Someone will see in it an allegory of modern society, where everyone plays a certain role, and someone - a symbol of the loss of individuality in the conditions of globalization and standardization. The performance with the participation of masks invites the audience to explore these questions, to reflect on themselves and their own identity.

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https://knutkt.edu.ua/en/faculty-of-theatre-arts/

Puzzle Théâtre (Canada):

Bois - Woods

A green leaf that grows on a dead branch, pieces of wood that come together to form strange creatures, some hostile, some comical…

A curious world that surprises, amazes, and inspires. A world that also makes you think and wonder.

In keeping with its artistic approach, the Canadian puppetry group Puzzle Théâtre is drawing inspiration from a whole new medium to create an atypical, colourful puppet show, full of humour and unexpected situations.

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https://puzzletheatre.com

SNAFU (Canada):

Epidermis Circus

THE WEIRDEST PUPPET SHOW YOU'VE EVER SEEN

This is one of the most surprising shows, masterfully performed by puppeteer Ingrid Hansen (Fraggle Rock, Sesame Workshop.) When her fingers move, they instantly come to life. She needs nothing more than a little inspiration to invent comical characters: a mischievous baby, an endearing shark, a clementine doing a striptease... With the help of cameras and mirrors, Hansen animates cheeky vignettes in the palm of her hands and her enchanting, inventive, and unbridled little world is projected onto a giant screen.

Watch a puppeteer make a live puppet film before your very eyes, using only household objects, a camera, and her bare hands. This spicy puppetry cabaret blends stand-up comedy with puppetry and object theatre, taking the audience on a fast-paced and entertaining journey that also offers philosophical insights and features mind-bending illusions. A surreal, funny, and breathtaking universe where people of all ages, from youth to seniors, will enjoy themselves. Get your comedy fix and stretch your brain!

Epidermis Circus includes cartoonish sexual content, curse words, and puppet suicide. There are moments of dark lighting, loud music, and surprises.

An “enormously entertaining, one-hour madcap vaudeville show. It is chock full of riotous, naughty, and mystifying vignettes using her bare hands, her face, her mouth, tiny toys, and a doll’s head. Hansen's hands-in-motion have the kind of presence that is often attributed to the greatest stage performers -- transfixing the audience, and creating pin-drop silence interspersed with spontaneous bursts of laughter.” - Culture Catch NYC

Produced by SNAFU.

Performed by Fraggle Rock Puppeteer Ingrid Hansen

Co-Created and Directed by Ride the Cyclone director Britt Small

Costume by JIMBO the Drag Clown, Winner of RuPaul’s Drag Race

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https://www.snafudance.com/

Teatro del Drago (Italy):

GOLEM – e fango è il mondo

GOLEM – and mud is the world

Winner of the Under 35 Directing Call – Biennale College Teatro 2024 – La Biennale di Venezia

"Life, nothing else at all; and the world is mud." Giacomo Leopardi, A sé stesso

Two hands gather mud from a puddle and begin to shape it. Are they the hands of a child, a primordial being, a god? The hands mold the formless substance, creating increasingly complex figures. An entire city of clay takes shape. Yet the creative impulse remains strong, and the hands continue to sculpt—this time, forming an anthropomorphic figure, a mud puppet. The clay-stained fingers trace symbols resembling letters on the creature’s forehead, eventually forming the word EMET, meaning “life”. The puppet—the Golem—opens its eyes. It comes to life, interacting with itself, with its surroundings, with its own reflection. But soon, it too is overtaken by the desire to create, the urgent need to shape—after its own image and likeness. Creation and destruction, however, feed into each other.

The performance explores, in a visual and dreamlike manner, mud as a substance capable of both creation and destruction; as a metaphor, through the legend of the Golem; and as a real, emotional experience, drawn from the stories of those who lived through the flood in Romagna in May 2023. The performance blends puppetry, dance, and animated film.

THE PROJECT

GOLEM is a multimedia performance that aims to tell the story of "mud" in a visual and poetic way, exploring it both as a material—capturing its creative and repulsive allure while probing the emotion of disgust—and as a poetic concept and emotional metaphor through the figure of the Golem. It also approaches mud as a concrete experience, focusing on the emotional and imaginative aspects of the people who, in May 2023, faced the Romagna floods and found their lives profoundly altered by this substance. The goal is to prompt a reflection on the relationship between humanity and nature, and on the creative need that exists in both, using the visual and dreamlike language offered by hybridized animation theater techniques, innovatively combined with animated cinema.

Mud becomes memory, metaphor, living matter. Between puppetry, animation, and real footage, a visionary journey inspired by the legend of the Golem and the 2023

flood in Romagna. Puppets, bodies, shadows, and dreams give shape to the fragility and strength of those who endure. A poetic and powerful ritual.

CROSSMEDIA PROJECT

From the dramaturgical concept of the show GOLEM, an animated short film titled MUD was also developed, directed by Mariasole Brusa and Caterina Salvadori, and produced by Meclimone Production, thanks to winning the SIAE "Per Chi Crea 2024" grant in the cinema category. The 15-minute short explores the hybridization between theatre, animated film, and documentary. Puppets, manipulated by animators on a green screen, were integrated into digitally created environments in post-production, generating a visual and emotional interplay between what is real and what is not.

From the remarks of the artistic directors of the Biennale (2024):

“Golem projects us into a near future, into an apocalyptic scenario where the landscape is dominated by torrential waters and catastrophic floods. The relentless rains are not only meteorological but also a metaphor for the inner anxieties and battles that torment each of us. Here, words fall silent, giving way almost entirely to a narrative that unfolds through evocative imagery, symbolic actions, digital effects blending reality and imagination, and video projections that dance between shadow and light, expanding the boundaries of the visible. Sounds vibrate like soul strings, and emotions rise from unexpected sources… The overwhelming strength of this work lies in its ability to act as a mirror reflecting the intimate, tormented, and complex relationship between Humankind and Nature.”

“At the center of the stage, a clay Golem (a puppet visibly animated by flesh-and-blood actors) rises as a symbol of adaptation and resilience. Through Golem_and mud is the world, Mariasole Brusa offers us not just a performance, but an immersive and transformative experience. It is an invitation to reflect on our role in the eternal cycle of creation/destruction/rebirth, to reconnect with ourselves, to rediscover beauty in ruin, hope in despair, and life in the mud.

A powerful and brutal metaphor that shakes the very foundations of our existence, reminding us that even in the darkest of storms, the spark of life continues to shine — untamed and irrepressible. An intimate, tormented, and complex relationship between humankind and nature.”

Stefano Ricci / Gianni Forte – Artistic Directors, Biennale Teatro 2024

Performance photos - scroll right to see more

https://www.teatrodeldrago.it

Hombre Collettivo (Italy):

Spectacle Society - a workshop and demo performance

The Spectacle Society is an investigative theatre research project that investigates the spectacularization of political and public life in Europe from the 1980s to the present day. A constantly assembled and dismantled set of an undefined “broadcast”, always on air. A stage space–non-place that gradually reveals itself to be the suite of the Ritz Hotel where Margaret Thatcher spent the last days of her life, accompanied by the spectres of Alzheimer’s disease and of an entire historical era, for one final, unreal reckoning with her political battle.

The project originates from the philosophical reflections of Guy Debord, particularly the concept of the “integrated spectacle”, and from the observation of the transformation of politics into media spectacle, in which images and communication devices play a central role in shaping public perception. Analysing the knot between individual memory and its transformation into collective memory is the methodological principle at the foundation of the work: through an interactive and dystopian system, the functioning of the spectacle society is staged in a device where individual amnesia becomes collective representation.

The project includes several residencies during which the artists will experiment with the interaction between actors, objects, video projections and sound design, refining the visual and performative language of the work. The residency during SAMPO Festival in Helsinki will also allow the team to expand the material of the performance in dialogue with the Finnish cultural context and the historical perspectives emerging from Northern and Baltic Europe.

Alongside the artistic research, the project includes participatory activities with local communities and festival audiences. Workshops and public encounters will collect memories, testimonies and personal perspectives related to media culture, politics and civic participation, contributing to an evolving archive that feeds the dramaturgy of the performance. The project is part of a broader European collaboration and aims to develop theatre not only as an artistic practice but also as a civic space for reflection on democracy, media culture and collective imagination.

The workshop functions as an artistic research laboratory exploring the relationship between collective and individual memory. Participants are invited to bring memories, images, objects and references connected to historical events, media culture and political narratives from the 1980s to present times. Through collective exercises combining theatre practices, object manipulation, visual composition and sound experimentation, these materials are transformed into performative actions and dramaturgical fragments. The workshop contributes to the creation of a temporary collective archive that feeds the artistic research of the project.

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https://www.hombrecollettivo.eu/projects/the-spectacle-society

Puppet Theatre Sampo (Finland):

A Story by Unknown

A Story by Unknown is a fast‑paced medieval love story, performed with raucous energy and using a variety of storytelling forms: puppetry, music, poetry, and visual narration. The story, music, and puppets of the performance are created by unknown artists.

Aucassin et Nicolette is an anonymous medieval French fictional tale. It is a unique example of a chantefable — literally ‘a sung story’ — a combination of prose and poetry.

Throughout history, for as long as our knowledge of humanity’s stages and destinies reaches, people have delighted in hearing stories told and songs sung. The earliest tales of all peoples have come down to us in poetic form, most often performed through singing, or depicted on cave walls as visual narratives that the storyteller would point to while recounting the tale. Many ancient epics from different cultures have also survived in the form of puppet theatre performances.

In the Middle Ages, these stories were performed across Europe by travelling musicians — troubadours or bards. The author of this tale was likely just such an unknown wandering minstrel. What we can say for certain, however, is that he was a skilled poet. And the story itself is fine, unique, truly well‑known and celebrated. In medieval French literature, there is no other work that resembles it in either form or content.

The work most likely dates from the late 12th or early 13th century, and it is known from only a single surviving manuscript, discovered in 1752.

This performance is a demo of Sampo’s upcoming production, which will premiere in autumn 2026.

The production is part of the EU‑funded stART. project, in which Puppet Theatre Sampo is a partner. The aim of the project, together with our collaborators, is to find tools and create new structures that inspire young people to engage with the performing arts — both as audiences and as creators.

The project is led by the Czech organisation Bezhlavi / Spitfire Company. Other partners in this Creative Europe–funded initiative are the Slovenian theatre SLG Celje and the Slovak Jan Palárik Theatre.

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https://nukketeatterisampo.fi

Blick Théâtre (France):

Kahina

Two survivors of a disaster follow a faint signal from a distant radio, when suddenly Maahinen appears. This mischievous troll guards his territory scattering clues and pranks in the path.

Are humans capable of listening to the wordless beings with whom they share the world? Can they reconcile with the animal side within themselves? An ecological fable inspired by Nordic legends, Kahina blends visual theatre, circus and puppetry. With humour and poetry, Blick Théâtre weaves a new mythology, where the fantasy whispers in the ear of the living.

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https://blicktheatre.fr/kahina

Puzzle Théâtre:

PAPA

PAPA is moving house. He’s completely lost! He can’t find anything anymore, not even his... child! Cardboard boxes everywhere – what an incredible playground!

When you move, you leave something behind… or someone…

And you realise there’s a piece of paper missing from the child’s every drawing hanging on the wall…

When you move house, everything is upside down! You no longer know which way is up or down. You don’t know if everything that’s happening is real or if you’re in a funny dream.

This theater performance tells, with humor and tenderness, the chaos of moving as seen by a somewhat lost dad, surrounded by cardboard boxes and childhood memories.

With the aim of inspiring and encouraging children to create, an exchange with the audience is planned at the end of each performance.

In a playful and humorous way, the actor shows curious minds how masks and puppets can be made from pieces of packaging cardboard using simple and inexpensive methods.

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https://www.puzzletheatre.com

Naivni Divadlo Liberec (Czechia):

Red Balloon (Červený balónek)

The production - inspired by the French film of the same name by Albert Lamorisse - tells the story of a little boy and his balloon, which not only can fly wherever it wishes, but above all it can return the boy's friendship. Will the boy defend his inflatable friend from uncomprehending adults or a bunch of childish street urchins? This poetic production for the youngest children is almost wordless.

In cooperation with designer Berta Doubková, it was prepared by creative team (director Michaela Homolová, dramaturge Vít Peřina, music Filip Homola) that have created a number of award-winning titles for the youngest audience (About a Lamb that Fell from Heaven, Choo. Choo. Whistle. Woof! - performances, that have visited previous SAMPO Festivals and others).

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https://www.naivnidivadlo.cz

Odivo Theatre (Slovakia):

The Wolf Who Fell Out of a Book (O vlkovi ktorý vypadol z knižky)

Has it ever happened to you that a wolf fell out of your favourite book? What a trouble! Now he is lost, wandering around the lines aimlessly. Through the wilderness he strays - from prehistory to dinosaurs, knocking on a door of the Seven Little Goats, bumping into a pack of wolves. How many letters and pictures need to be jumped across and how many wolf tricks must be played until he finds a new home?

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https://www.odivo.sk/en/

Eesti Noorsooteater (Estonia):

Transport: Frontline

Transport: Frontline places the viewer in the heart of a war zone and humanitarian crisis, where— through the lens of a war photographer—they become a witness to unfolding events. Her camera does more than document—it frames a moral landscape where every image captured carries the weight of choice and consequence.

Like war photography, the performance questions the limits of representation: when does an image open a space for empathy, and when does it slip into the aestheticization of suffering.

The performance invites reflection on the role of the individual in a world shaped by moral dilemmas and urges active confrontation with the systems of violence we help create—or sustain through silence. At a time when the line between testimony and sensationalism is increasingly blurred, Transport: Frontline offers a space for reflection on responsibility, solidarity, and the power of the gaze.

Transport is not merely an artistic experience, but a call for change, raising essential ethical questions and challenging us to reconsider our role and responsibility in times of global crisis.

In the performance Frontline, transport transcends its physical function—it becomes a shift in consciousness, values, ethics, and the way we perceive ourselves, others, and reality itself.

Note: Performance will take place at an empty office space at Erottajankatu 7. Arrival for the performance through Sampos ticket office.

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https://www.eestinoorsooteater.ee

https://www.project-transport.eu

Klaipėdos lėlių teatras (Lithuania):

Transport: Fasten your Seatbelts!

Transport: Fasten your Seatbelts! is a dazzling, ironic satire that invites us to look at a fractured world from a distance—from above—where its contradictions become sharper and harder to ignore.

At the center of the story is Megan, an ambitious young woman raised to believe that anything is possible if you want it badly enough. When she receives the most prestigious birthday gift imaginable—a luxurious trip to space—it seems her dreams have finally come true.

But the view from space reveals another side of the story: beneath the shiny surface of technological progress lies the growing social inequality, environmental exhaustion, and a blind faith in escape as a solution. The ideal of the American Dream—once a symbol of opportunity for all—has become a luxury reserved for a privileged few. In this grotesquely glittering vision of the future, escapism is no longer merely a sign of prestige; it becomes a mirror held up to society.

Fasten Your Seatbelts! raises pressing questions about the future of luxury space tourism— offering new horizons while simultaneously exposing deep-rooted inequality and environmental consequences.

As we have explored nearly every corner of Earth, our gaze turns ever more toward the stars. But is space exploration true progress—or merely an escape from the problems we’ve created? And how can we balance technological advancement with our responsibility to a planet we have already overburdened?

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https://www.klaipedosleliuteatras.lt

https://www.project-transport.eu

Divadlo Alfa (Czechia):

Transport: Tipping Point

Transport: Tipping Point is a gripping, documentary-style theatre performance that places the audience at the heart of a courtroom drama. On the defendant’s bench sits a representative of one of the world’s largest energy corporations, accused of being complicit in one of the most devastating environmental disasters of our time. The explosion on the oil rig lays bare the fragility of our systems, the unchecked power of fossil fuel giants, and the lethal entanglement of greed with systemic negligence. But the performance is more than a recounting of the largest environmental catastrophe in the U.S.—it is a reflection on a world where nature struggles to survive under the relentless logic of capital. It poses urgent questions: Who bears responsibility for the consequences that ripple across the globe? And what part do we play? How do our daily habits, our consumption, and our reliance on industrial systems contribute to enabling such disasters?

Through a striking combination of documentary material, audiovisual storytelling, and live performance, Transport: Tipping Point sparks a dialogue about global transport, human needs, trade, fossil fuels, corporate interests, and the environment. It challenges audiences to confront their own responsibility and inspires reflection on the steps we can take toward sustainable living and a more conscious relationship with the natural world.

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https://www.divadloalfa.cz/

https://www.project-transport.eu

TeatteriQO (Finland):

The Wolf in Underpants

Everyone in the forest lives in fear of the local wolf. But when the wolf comes down from its rock, he is not quite as expected. The Wolf in Underpants is a witty and heartwarming performance about prejudices.

The performance is based on the Comic Book “Le Loup en slip – 1st Volume” written by Paul Cauuet and Wilfrid Lupano and illustrated by Paul Cauuet and Mayana Itoïz © Dargaud, 2016.

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https://teatteriqo.wixsite.com/home

Tehdas Theatre (Finland):

Twenty Thousand Leagues Under the Sea

A puppet theatre adventure into the depths of the seas

“Is it phosphorus, is it a whale, no known phenomenon explained what we saw” – Professor Aronnax

The year is 1866, and a strange vessel travelling beneath the surface swallows three seafarers who have found themselves stranded at sea. Aboard the submarine Nautilus, the trio embark on a thrilling underwater adventure from the northern Pacific all the way to the glaciers of the South Pole. The organ plays, wondrous coral forests and their fish are revealed through the windows, and as the air runs out, the pressure to return home mounts. Alongside the undersea perils, they encounter the enigmatic Captain Nemo, steering his vessel.

This visually inventive puppet theatre adventure charms with its small-scale production. Old-fashioned illustrations are combined with lively puppet characters, curious contraptions and a dash of steampunk flair. The performance marks director Eve Mäkitalo’s striking professional theatre debut, featuring Finnish contemporary puppet theatre pioneers and superstars Merja Pöyhönen and Timo Väntsi on stage.

Twenty Thousand Leagues Under the Sea (in Finnish: Around the world in a submarine) is an adventure novel published in 1869 by Jules Verne, a pioneer of science fiction. The book was written at a time when the submarine was pure science fantasy, but its stories and flights of imagination have endured, entertaining readers for several generations.

The puppet theatre version, inspired by the book, is aimed at all those who love adventure stories, underwater experiences and creatures of the deep, whether young at heart or in body.

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https://www.tehdasteatteri.fi

Teatteri Mukamas (Finland):

Under the Story Umbrella: Little Hedgehog

Under the shelter of the Story Umbrella, together with the little ones in the family, we get to follow Little Hedgehog's day. What delightful things will there be to marvel at, when Little Hedgehog peeks out of his nest?

This gentle and warm-hearted performance is well suited as a first theater experience.

You tiptoe under the Story Umbrella in your socks, and you can even lie down on the soft pillows whenever you like.

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https://www.teatterimukamas.com

Pavla and Csaba from Puzzle Théâtre will arrange a non-stop workshop around making puppetry with wood - branches, sticks, roots and other elements of wood that you can find in nature. 

Workshop is free of charge, and you can come visit any time between 11 am and 2 pm.

A hands-on puppetry workshop, no construction or crafting required. Together we bring to life newly discovered puppet creatures, be it a two-headed singing slug unicorn, an amiable puppy-cat, or a whatsit-thing-beast. There will be an emphasis on courage, breath, teamwork, and trusting your creative instincts.

All abilities and experience welcome. Suitable for everyone over 5 years of age.

TESTIMONIALS:

“Ingrid Hansen is a dynamic and engaging educator. The students and teachers alike were captivated by energy and presence. The curiosity and fearlessness that she demonstrates as an instructor is contagious. Through Ingrid's workshop everyone became more playful in the collaborative environment that Ingrid created. I can't wait for her to come back to our school!” - Lisa Cox, Arts Teacher at Second Street Middle School, Etobicoke

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https://snafudance.com

Let your body become a puppet

Body puppetry workshop

How are movement, the body, puppets, and masks brought together?

This workshop focuses on body puppetry, visual theatre, and exploring how the body itself can serve as a means of expression. The workshop is open to everyone aged 15 and over.

No previous experience in theatre or performing arts is required.

Workshop duration is 6 hours total. Soup lunch at Sampo´s Fairytale Cafe is included (1 hour break).

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https://blicktheatre.fr/

Workshop: Who are you - and how far can your work go?

An intensive boost for performing arts companies ready to grow

This dynamic, hands-on workshop is designed to give your project a real push forward.

In just one session, companies will sharpen their artistic identity, clarify their positioning, and unlock new ways to connect with presenters, audiences, and both local and international networks.

Through practical tools, guided exercises, and direct application to your own project, you will:

Define what makes your work stand out

Strengthen how you communicate it

Build a clear and actionable marketing and distribution strategy

Grounded in the realities of today’s performing arts landscape, the workshop bridges artistic vision with strategic thinking — supporting both local development and wider circulation.

Leave with concrete materials, fresh perspective, and renewed momentum to take your project further.

Workshop duration is 6 hours total. Soup lunch at Sampo´s Fairytale Cafe is included (1 hour break).

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Workshop: Behind the mask

In this workshop, the participants get an introduction to the world of masks: the basics of manipulation techniques and the traditions of commedia dell’arte; physical theatre and improvisation, new forms of expressiveness and the practice of expressing emotions and actions without words, through movement, rhythm, dynamics, and bodily metamorphoses.

As a result, the participants will receive basic skills in using a theatrical mask; understanding how the body becomes a full-fledged tool for creating an image; practical experience of improvisation in the format of physical theater; a new look at acting through the combination of mask, body, and space.

The master class is built in the form of active practice: through acting exercises, sketches and collective experiments. It will be useful both for those who already work in the theater and for those who are just taking their first steps on stage.

Workshop duration is 6 hours total. Soup lunch at Sampo´s Fairytale Cafe is included (1 hour break).

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