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Mus, the mouse.


Mus, the Mouse, immerses us in the adventure of an intrepid teenage mouse who longs to explore the world. His luck leads him to sneak into a puppet workshop in the heart of Bogotá, triggering a charming and crazy tangle. Pursued by the puppeteers, who fear his workshop will be devoured, Mus begins a conversation and seeks help among the workshop's unique characters.

José Luis, the builder; Rubicundo, the musician; and Yuyin, the designer, become his allies on this unexpected journey. But it is in the workshop's lighting laboratory, where Mus falls under the curious tutelage of Leko and Fresnel. Through these magical and fictional circumstances, Mus manages to escape from the workshop, carrying with him a wealth of reflections. 


This story invites us to delve into the fascinating process of creating puppets and the double role that mice play in human life. From being seen as pests to being used in laboratories, the work leads us to reflect on the perception of life and its meaning. "Mus the Mouse" not only entertains with its bold plot, but also awakens our conscience, reminding us of the complex relationship we share with the world around us.

Artistic and technical sheet


  • Fabio Correa

  • Jose Ramon Fernandez

Doll and costume design:

  • Inti Camila Romero Estrada.

Take actiontion and construction of dolls:

  • Fabio Correa

  • Jose Ramon Fernandez

  • Hamed Gonzalez


  • camIlo Sepúlveda


  • Guava Patience

Locker room:

  • Maria Esther Carvajal


  • Helber Ruiz

​Technical support:

  • Sandra Llanos


  • TV Sleigh

General Directorate:

  • Fabio Correa Rubio

Technique: Table, rod, shadow puppets, animation and actors.

Public: All public.

Scenery: 8m wide x 6m deep x 4m high.

Lights: 10 Reflectors, colored gelatins, 500 watts.

KIWA, Wood, Wide, Web. 


From KIWA, Wood Wide Web, the Patience of Guava Puppet Theater, expresses a commitment, an ethical and artistic stance towards the global problem of the conservation of the plant species, thus determining that the conception that it carries in itself Biodiversity goes far beyond mere care for plants, seeking to contribute to a transformation of collective thinking about plants.


KIWA, which in the Quechua language means GRASS, constitutes an artistic proposal of fictional creation-research, under the authorship and direction of Fabio Correa Rubio, with the world of plants as its main axis. The dramatic proposal KIWA, Wood, Wide, Web, winner of the Creation Grant in the field of puppets, marionettes and object animation RAYUELA, 2021 from the Ministry of Culture, aims to carry out a deliberation about the causes that affect the use indiscriminate treatment of the environment, a highly controversial issue that gives rise to diverse reactions (encounters and disagreements) between environmental movements and the global consumer industry, which leads to an exercise in collective awareness about the risks involved in non-preservation. of nature in favor of humanity.

It is pertinent, based on the different scenic elements that are part of the acting, visual and plastic construction of the work, a reflection on the conflict that constitutes the destruction of ecosystems and their biodiversity in the world, the product of a series of factors. , such as: pollution, overpopulation and waste of materials and environmental degradation.

Artistic and technical sheet


  • Sandra Llanos

  • Hector Montoya

  • José Ramón Fernández

  • Fabio Correo Rubio

Dirección de Arte:

  • Inti Romero Estrada


  • Paciencia de Guayaba


  • Luis Carlos Garzón


  • Helber Ruiz


  • Giulietta Malaver

Technical support:

  • Hamed González 

  • Erika Serna

Dramaturgy and general direction:

  • Fabio Correo Rubio

Altarpiece of Don Cristobal

El director pone en contexto al público, sobre el guiñol y la farsa y clarifica la relación económica con el poeta, presenta a los personajes Rosita y Don Cristóbal. Este último, a instancias del director, se convierte médico para obtener dinero y poder casarse. Don Cristóbal para casarse con Rosita concreta un arreglo económico con la madre de Rosita, ella, hace visible su deseo de casarse con cualquiera, solo quiere casarse y a continuación viene el matrimonio, después el intermedio donde el poeta de nuevo intenta develar a los personajes, pero el director lo calla nuevamente y continua la obra con la luna de miel y de hiel, en la primera, don Cristóbal borracho queda impotente para realizar el matrimonio y en la segunda aparecen los amantes, currito, poeta y enfermo y se acuestan con Rosita, súbitamente bien los partos y Rosita tiene cuatro hijos, don Cristóbal quiere cobrarse la deuda con la porra, pero el director interviene creando un distanciamiento y explicando también la línea parental de don Cristóbal en el mundo del teatro de títeres.

Artistic and technical sheet


  • José Ramón Fernández (Don Cristóbal).

  • Sandra Llanos (Rosita, Sick).

  • Fabio Correa (Rosita's mother).


  • Freddy Henriquez


  • Rosita Gomez


  • Hector Montoya


  • Fabio Correo Rubio

Scenery:10m wide x 8m deep


Sound: Amplification console for digital music.

Lights: 15 reflectors, light console and black camera.

circus of illusion


The show begins with the conflict between the clownPepeand the international presenterPascual Pascualino who makes his appearance to be able to carry out the circus mediates between the public and Pepe. The show continues with the presentation of the Chinese MagicianTiu-chi-chin and his scarfMaria, she in a single act transforms into a dancer, flooding the floor with tenderness and emotion, giving way toCopernicus,the Italian juggler, who controls the world in his hands, is then interrupted by the trained English dogsFox and Terry, who are confused with the public doing their thing.

The presenter announces a new number, that of the Mexican trapeze artistBernardino and his nieceBernadette, their number does not contain any drama, only that of challenging life from a height and overcoming the tension and fear of falling. The moment of climax occurs with thearabian horses, which show how behind a puppet there is a creator, man.

Appears in the arena of the Circus of Illusion,Erik the Punk, Puerto Rican in love with salsa, followed byAnacleto, the Colombian unicyclist who taught Lucho Herrera to ride a tricycle. The dance floor is filled with tenderness and sensitivity with the Russian dancerSabrina, who performs various piroettes and all kinds of ballonné until he faints. Finally, the circus show closes with Break Dance music, danced by the disarticulator M-Te.


Artistic and technical sheet


  • Sandra Llanos

  • Diana Romero

Doll and costume design:

  • Pubenza Valderuten

Realizecostume action:

  • Maria de Jimenez

Doll painting:

  • Olivia Miranda

General address:

  • Fabio Correo Rubio

Technique: Manipulated string puppets on display.

Public: All public.

Scenery: 6m wide x 6m deep x 4m high.

Lights: 10 reflectors, colored jellies, 500 watts.

de obras

Nuestra principal orientación en el ámbito artístico se focaliza en la creación y recreación mediante el arte de las manifestaciones culturales profundamente arraigadas en nuestra sociedad. Nos esforzamos por obtener una nueva perspectiva que no solo nos invite a reflexionar sobre nuestra identidad, sino que también utilice estos referentes culturales como punto de partida para la universalización de nuestro arte. Todo ello se fundamenta en el desarrollo integral del ser, el saber y la comunicación.

Proyectos artísticos de intervención social.

Damos inicio a nuestros proyectos mediante la exploración de las posibilidades que brinda la animación en el ámbito de los títeres dentro de las comunidades. Nuestro compromiso constante con la búsqueda de nuevas formas de conexión entre el arte y otras disciplinas ha sido un proceso integral en nuestro grupo. A lo largo de 45 años, nos hemos dedicado de manera continua a la exploración y la innovación en este campo, reconociendo el potencial del arte como disciplina  transformadora en el ámbito social.


Talleres de formación

Desarrollo de proyectos pedagógicos, proporcionando información y formación en colaboración con comunidades y entidades interesadas en explorar alternativas de expresión artística. Destacamos nuestro énfasis en el Teatro de Animación de Objetos y Títeres, con un enfoque particular en la sensibilización, la apreciación estética y la comunicación. Nos esforzamos por fomentar el entendimiento y la participación activa en estas formas de expresión, contribuyendo así al enriquecimiento cultural y al desarrollo integral de los participantes.