the puppet as a figure of the other final P PIRIS 2013 - Central ...

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dimension of separateness, interiority, secrecy or what Levinas calls “alterity” thatescapes my comprehension.’ (Critchley 2008: 26). The concept of alterity is addressedduring the research to investigate the relation between the performer and the puppet.A discussion about the Other is necessary before further investigating the puppetas a figure of the Other. As Dastur suggests, classic philosophy does not consider thequestion of the Other as an issue. The question is resolved through analogy. ‘Because Iexperience within myself the association between a body and a consciousness, anyliving body similar to mine can be considered as associated with a consciousnessdifferent from mine.’ (Dastur 2006: 3) The Other is not solely given to me as a body, asan object in the world, because if that were the case, it would not be possible to see this‘object’ as a subject similar to myself. Dastur explains that ‘the Other is immediatelygiven to me as a subject, as a “self” ’ (Dastur 2006: 4). The experience of the Other isdistinct from any other sorts of experiences, precisely because the Other questions theopposition of the subject and the object.For Sartre the subject does not constitute the Other. He encounters him. Theupsurge of the Other in his world operates a decentralisation of the position of thesubject. The objects of the world are no longer organised around him. In Being andNothingness (2007), Sartre describes the experience of walking in a park. As he walks,he sees a man passing at some distance from him. ‘I see this man; I apprehend him as anobject and at the same time as a man. What does this signify? What do I mean when Iassert that this object is a man?’ (Sartre 2007: 278) Sartre argues as follows. ‘If I wereto think of him as being only a doll, I should apply to him the category which Iordinarily use to group temporal-spatial “things”.’ (Sartre 2007: 278) In that case thereis no new relation between the subject and the objects of the world if the man isapprehended as an object. However, ‘perceiving him as a man …, it is to register an32
organisation without distance of the things in my universe around that privilegedobject.’ (Sartre 2007: 278). He concludes that ‘it appears that the world has a kind ofdrain hole in the middle of its being and that it is perpetually flowing off through thehole.’ (Sartre 2007: 279) Sartre establishes a distinction between perceiving an objectand a subject. The Other changes the apprehension of the world that the subjectexperiences, because the Other is another subject. The apparition of the Other operates adecentralisation of the subject in relation to the world. For Levinas the object isidentified with the self and thus becomes part of its identity. Conversely, the Othercannot be identified with the self because he always escapes the subject. The Other mustappear as being not myself, which implies the alterity and the negation of the Other.Sartre and Levinas articulate a relation of self to Other as non-reciprocal. Thecapitalisation of the word ‘Other’ signifies the insurmountable separation between selfand Other. A paradox appears when addressing the puppet as an Other. As an Other thepuppet would be immediately given to consciousness as a subject. Yet, as an object thepuppet cannot be constituted as an Other. This paradox is addressed in the second partof Chapter III by examining Sartre’s theory of the image.It is necessary to be precise as to which subject the puppet is the Other of. Myresearch is concerned with the interactions between the performer and the puppet; thusthe puppet is an Other of the manipulactor. The spectator appears as a witness of thisrelation of self to Other between the two protagonists. Nonetheless, performer andpuppet are Others too for the spectator. The difference between manipulactor andspectator pertains to the fact that the manipulactor constitutes the puppet as an Other ofhimself because of his interaction with the puppet. The puppet appears as an Other ofthe spectator because of the actions engaged in by the manipulactor. The puppet byentering the affective field of the character enacted by the performer transforms the33
Page 1 and 2: THE RISE OF MANIPULACTINGTHE PUPPET
Page 3 and 4: ACKNOWLEDGEMENTSThis research has b
Page 5 and 6: Being and Nothingness (1943), and b
Page 7 and 8: TABLE OF CONTENTSNotes for the read
Page 9 and 10: 4.3. Conclusion 166Chapter V The Ma
Page 11 and 12: List of figuresFigure 4.1 Tranter a
Page 13 and 14: NOTES FOR THE READERSThe mainspring
Page 15 and 16: staging issues such as characters w
Page 17 and 18: particular form of performance but
Page 19 and 20: performer and the puppet. The start
Page 21 and 22: productions looking at this relatio
Page 23 and 24: already present in the two first ve
Page 25 and 26: • Who is the Other represented by
Page 27 and 28: 2) Member of a proposition about wh
Page 29 and 30: Adrian Mirvish and Adrian van den H
Page 31: accept the determination of structu
Page 35 and 36: specific effects of alterity. In Ch
Page 37 and 38: company Morbus Théâtre. One of th
Page 39 and 40: Sergei Obraztsov, who embraced Mode
Page 41 and 42: organisations decided to explore ne
Page 43 and 44: However, unlike their fellows from
Page 45 and 46: time of writing this thesis. The di
Page 47 and 48: inspired by other contemporary arti
Page 49 and 50: performances. 3 It is by default or
Page 51 and 52: [Albrecht Roser] trained me in stri
Page 53 and 54: Another level of interaction consis
Page 55 and 56: makes it difficult to provide a gen
Page 57 and 58: elation between the body of the cha
Page 59 and 60: presence exist in manipulacting. Th
Page 61 and 62: forcing Tamar to pray alongside him
Page 63 and 64: perform in venues traditionally ded
Page 65 and 66: which the presence of the puppet is
Page 67 and 68: manipulactor to give the impression
Page 69 and 70: CHAPTER IIIA PHENOMENOLOGICAL PERSP
Page 71 and 72: weight and tension which can be fru
Page 73 and 74: ground and her movements were large
Page 75 and 76: 3.1.2. PostalgiaPostalgia is a twen
Page 77 and 78: ecomes a prisoner. Alongside this r
Page 79 and 80: ut there is no direct interaction b
Page 81 and 82: through movements that are read on
Page 83 and 84:
presence of the performer. Yet, suc
Page 85 and 86:
production. It had the longest rese
Page 87 and 88:
their gazes. Although this is partl
Page 89 and 90:
different levels of performance, an
Page 91 and 92:
een integrated into the dramaturgy
Page 93 and 94:
dialogue. Understanding how the alt
Page 95 and 96:
alienation insofar as it engages co
Page 97 and 98:
down on a small table while Nakamur
Page 99 and 100:
However, Sartre disagrees with Hege
Page 101 and 102:
106). The inter-subjective awarenes
Page 103 and 104:
etween imagination and perception i
Page 105 and 106:
Sartre first admits that the impers
Page 107 and 108:
analogous to that which can appear
Page 109 and 110:
interactions between Okoto and Naka
Page 111 and 112:
the impression of an apparent subje
Page 113 and 114:
internal negation is a relation bet
Page 115 and 116:
Pierre as imaged. Conversely, unrea
Page 117 and 118:
As Sartre and Levinas contend, a re
Page 119 and 120:
CHAPTER IVCASE STUDIESTWO REPRESENT
Page 121 and 122:
University to become a teacher, he
Page 123 and 124:
theatre’ as ‘dramatic theatre i
Page 125 and 126:
elated: a particular design affects
Page 127 and 128:
head and occasionally the arms. The
Page 129 and 130:
audience’s point of view. The mov
Page 131 and 132:
triangulation taking place between
Page 133 and 134:
positioned on one side of her, leav
Page 135 and 136:
expression ‘more likely’ becaus
Page 137 and 138:
Figure 3.7 Tranter and Muttirubbing
Page 139 and 140:
about Lupus’ remark. By looking i
Page 141 and 142:
Tranter to build a relation of self
Page 143 and 144:
his directorial work as well as the
Page 145 and 146:
Twin Houses consists of a series of
Page 147 and 148:
this quality should be applied to t
Page 149 and 150:
although it is not very clear wheth
Page 151 and 152:
The Double has a more complete repr
Page 153 and 154:
Double and sometimes the Man. This
Page 155 and 156:
All of a sudden he takes her head i
Page 157 and 158:
hand in order to diffuse all the mo
Page 159 and 160:
never acknowledges the presence of
Page 161 and 162:
heads are covered with veils which
Page 163 and 164:
elationship set between puppets and
Page 165 and 166:
thinking about something. At the sa
Page 167 and 168:
linked to the self. The irreal body
Page 169 and 170:
separates from these Others when he
Page 171 and 172:
CHAPTER VTHE MAIDSONTOLOGY, DRAMATU
Page 173 and 174:
original setting established by Gen
Page 175 and 176:
of his shows during my research res
Page 177 and 178:
Apart from the head, the design of
Page 179 and 180:
subjectness. Thus, it appeared nece
Page 181 and 182:
Maids2, Claire suspends the alterit
Page 183 and 184:
manipulacting because the productio
Page 185 and 186:
of emotion it is usually translated
Page 187 and 188:
also forced the performers to remai
Page 189 and 190:
the energy and warmth coming from A
Page 191 and 192:
choices of relationship that were t
Page 193 and 194:
Nakamura with Ilka Schönbein at th
Page 195 and 196:
strongly characterised in this firs
Page 197 and 198:
on the telling of the story than on
Page 199 and 200:
The audience could not see the conn
Page 201 and 202:
the previous section. Live shadows
Page 203 and 204:
weight. In order to move the puppet
Page 205 and 206:
Urashima Taro’s love. On one hand
Page 207 and 208:
UT3 is intended to go one step furt
Page 209 and 210:
consciousness is only directed towa
Page 211 and 212:
One cannot help thinking that Otohi
Page 213 and 214:
do not perceive her but instead enc
Page 215 and 216:
CHAPTER VIIA METHOD OF PRACTICE FOR
Page 217 and 218:
approach is through movement, it is
Page 219 and 220:
gravity has to be understood in the
Page 221 and 222:
using body-parts isolation which al
Page 223 and 224:
Five possible calibrations of the g
Page 225 and 226:
puppet without an articulated mouth
Page 227 and 228:
Finally, as discussed in Chapter V
Page 229 and 230:
CHAPTER VIIICONCLUSIONThe purpose o
Page 231 and 232:
elationship. Sylvie Baillon, artist
Page 233 and 234:
Compagnie Mossoux-Bonté (2009) Sep
Page 235 and 236:
Keene, D. (1973) Bunraku: The Art o
Page 237 and 238:
Podehl, E. (1991) ‘Ceux Qui Touch
Page 239 and 240:
Tranter, N. (2009) Interview discus
Page 241 and 242:
APPENDIX AINTERVIEWSNicole MossouxN
Page 243 and 244:
NM: Ce n’est pas si systématique
Page 245 and 246:
PP: Est-ce que vous avez un autre r
Page 247 and 248:
PP: Pour vous c’est comme si vous
Page 249 and 250:
PP: Qu’est-ce que vous appelez ex
Page 251 and 252:
PP: That came later somehow?NT: I c
Page 253 and 254:
the puppet and starts to animate th
Page 255 and 256:
INTERVIEW WITH DUDA PAIVAANDEDERSON
Page 257 and 258:
PP: It’s very Stanislavskian.DP:
Page 259 and 260:
PP: There is also a pleasure to kno
Page 261 and 262:
PP: Is it when you are very close t
Page 263 and 264:
you are very important because you
Page 265 and 266:
KK: Having seen many puppet shows a
Page 267 and 268:
Postalgia (19mn)Filmed by Monika Ki
Page 269 and 270:
Urashima TaroUT1.1 (11mn)Filmed at
Page 271 and 272:
Cuniculus (2008)Stuffed Puppet Thea
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