""Teia Moner created sensational beasts, luminouses, baroques, touching in her deformity and with all human feebleness live in them. Really it´s one lovely show, any object can make sense by a soul transmission: in fact this the basis of all art action."     Frederic Roda. LA VANGUARDIA


"Only one actress appears on stage but her presence multiply it with the action of puppets and with the soundrecording that incorporate sounds, voices and music. To stick out the exotism and effect of figures and set elements."
Novelty, this performance don´t scape of tenderness and emocional moments, without lose the action and adventure of tales, as well impose one slow and peacefull rhythm very appropiate for to place in another kind of world."     Carme Rubio. AUSONA

"This show take great care on all aspects, with a big visual beauty, offer one documentated approach to nordamerican indians , in a funny and plenty tenderness way."     Ferran Llaveria. AVUI

"One montage with great artistic level, very rich in contents and performed with notable accuracy in everyone facet."     Ferran Baile. EL PERIÓDICO



"Projected images, animation with them, shadows theatre, black shadows, colours projections, puppets, objects, a great deployment of diverses technique diverses that obtain very little models development till become battlefields where it ride entires armys on castles. Dear figures, fluently manipulated, obtain them the soul to make bigger the marionette and the puppeteer overcoat."     EL PAÍS

"The staging contribute with innovatory elements on puppet theatre. It´s estructured in two narrative levels. The images that correspond to memories and fiction of the characters revived with a complex system of shadows and projections on a screen that change with the show like the pages of a tale."     M.V. EL OBSERVADOR

"It´s an animation film and partly one grandiose theatral ceremony, the suposed pretext literary or cultural are not a pretext . It´s authentic text, very summarized but lovely respect-it, the scrip is simple and elemental, it condenses very whell some elements across the Cervantes masterpiece. It summarizest with a few episodes, well syntetizeds recovering his inimitable language thanks to the voices of invisible actors inserted in an elaborated sountrack that emphasized the film aspect of this ."     Xavier Pérez. AVUI





"It is considered a spectacle for all the ages, and the audience taste test the dishes elaborated by a witch, a ghost or a gnome. The curriculum of performances all over the state of the creator of the spectacle guarantee his quality."     Alfonso Fernandez DIARI DE SABADELL

"Teia is a cook woman that it knows many recipes. With the help of some puppets that know yet more, the child will be able to begin in the gastronomy world. We will learn that it is necessary to make, some recipes and also the way of using the kitchen utensils, all this spiceed with popular sayings on kitchen. This cook woman, amiable and awake, will present us a very special cooking book. Some fantastic personages will explain their gastronomy. With an original mise in scene shows us as making some fun, attractive and very good recipes. We feels the urge to taste all the dishes. It's an innovative and singular work that opens a fan of possibilities from learning vocabulary and to increase the perspectives of relationship between the child and the adult."     LA VEU DE L'ANOIA



Teia Moner is one of the puppeteer most interesting and creative. Her performances show her communication capacity; although, Moner is an actress and pedagogue, so that guarantees a well built script and the searching of new ways and aesthetics on staging.
A show told and dialogued with the audience, easy apparently, but taking care of all the aspects and very full of interesting contents."     Ferran Baile. EL PERIÓDICO




Absolute succes of children programming. On Saturday afternoon and on Sunday the Theatre of Centre Cultural of Fundació la Caixa, in Vic2, was very crowded. Both days people remainded out showing that children programming is the most popular of Mercat de Música Viva, in Vic. On Sunday El somni d’una nit d’estiu (Midnight Summer’s Dream) was presented with absolute succes. It mixes music and puppets under the conducter’s baton of Teia Moner, Pep López and Joan Crosas.”     El 9nou. J. S.

“One of the most important shows of Mercat de Música Viva in Vic 2001 was El somni d’una nit d’estiu (Midnight Summer’s Dream) of Teia Moner’s Company. This décor, inspired by the universal classic play written by Shakespeare and set out with songs, magic and puppets, was acclaimed by the audience that followed with attention and enthusiasm the story told by Puck, the goblin. This show was characterized by a solid script full of funny scenes and misunderstandings and an original misse en scene. It is very careful in all of the aspects and it has a visual beauty. The set is important because of its exotic and the effects of the puppets. Concerning to music the show counted, on stage, with Pep López, the author of music and arrangements and the cooperation of Joan Crosas in the voices.”     La Marxa.

“Found out two little jewellery at the last moment in “Fira de Tàrrega”: Yllana’s group show, and the Shakespeare’s comedy “Midnight Summer’s Dream” adapted for puppet show by Teia Moner, with songs and a good deal of magic.”     El Periódico. GONZALO PÉREZ DE OLAGUER"



"Teia Moner demonstrated during the representation her absolute mastery of an art in simple appearance but that at heart is full of subtleties, and, in this case - by the fact that the proposal was not directed to the infantile public of an ironic language that gives multiplicity of readings.
Therefore, Moner used with total masters those own resources of the theatre of puppets.Between these, it is possible to observe the dynamism when changing radically of elements and protagonists from a number to another one, the mutual understanding between the action of the personages and music - leitmotiv unquestionable of the show -, or the interaction of the puppeteer with the dolls and these with the hearing.




Those used by Teia Moner are professional fleas, which is reassuring, coming from the exquisite British breeders, the most precious of the world as the tamer tells, where you can find the best schools in the country that offers the flea international market. Maybe someone thinks that there are no fleas and the whole show is just a deception. I must say, to tell you the truth, I did not see them, but I felt and glimpsed them into their circus : When jumping out of a little box by the lid, when opened a door or a little window, jumped a minitrampoline, passed by cable balance, fell to the bowl pool or trampoline, or were simply fired by a cannon. I make sure the fleas were in all cases very real and I could see as amazed spectators listened to the words of the director of the circus tamer, since she was alone, a little scared especially when some flea escaped or was incorporated as new staff coming from someone in the audience...
And here we see the deployment of Teia Moner’s making her histrionic abilities and minstrel , dressed in elegant flea tamer. When the shocking gore that shows the rows of bites to the arms , canteens their usual bugs . Through my neighbours came to me the public wave of sensuality that crossed the rows of the audience.
It must be said that the work done by Teia Moner and the technical director and head assembly, Miguel Espinosa is excellent and highly sophisticated . Things run perfectly, the music and sound effects are flawless.
Teia Moner manages to create a self and believable world, full of gags and effects that work with energy and efficiency, through a fast-paced that does not decay but goes up during the performance. Really a show for everyone, whether from here or abroad, and these can last for many years. An achievement that crowns a history of constant inventiveness and creativity, someone who does not stop or intimidate when new challenges are set and betting increasingly complicated. In heard ...




"I must say that the work loved and seduce the public, due to smart, practical and very imaginative use of simplicity, a combination full of wit of different choreographic movements with a variety of objects, small magic tricks and visual effects that keep each other very fair proportions, overplayed impost or pretensions. a simplicity that up, however, high in the poetic grace and imaginative flight. references to Brossa are marked by objects that speak of a universe that he liked the poet, as are games with letters, using the formal elements of language, both written and musical, as well as the different thematic records parading through the work: the cabaret, music, magic, puppets, shadow theater, the rabble dance, and the little tricks of ingenuity of popular tastes.
Since the start of the show it puts us squarely in the world of visual magic, using a simple sheet and a couple of flashlights, but which get much beauty effects. The game between the inside and the outside, the visible and the invisible, appears in this first sequence and indicates one of the keys of the show: this constant flow between what is taught and what surprises and amazes us. There is a tone of naivety that runs through from beginning to end the show and yet not flee choreographic technical complexity even in some of the tricks and effects. Teia Moner and Cristina Bertran, with the whole project team have made an impressive show yet simple, ie have the nail and have achieved what everyone seeks, taking an extraordinary juice to wit, the office and the imagination."




“In fact, we liked the exquisite combination of a  calderian plastic inspiration (the show is inspired by the world of Alexander Calder) with dance, music and gestures inspired especially by the universe of magic. A difficult task synchronization gestures, object manipulation and visual effects that could be comparable to the virtuosity of some of these puppet companies from China rhythmic choreography together with manipulation, the result of a grueling workout, and marvel at his virtuosity. Hence the merit of Addaura Teatre, which has achieved with simple local budgets, tenacity and enthusiasm of the four dancers, more successful and rigorous Teia Moner management, a result that board showmanship and virtuosity in superlatives degrees. A work that is emerging long-term and travel."    REVISTA TITERESANTE. Toni Rumbau

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