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

More documents

Recommendations

Info

eing only a piece of paper. He also conceived Les Mains Seules by using just his barehands to form puppets that would represent the fauna and the flora of the sea beforebecoming human beings. Although these acts seemed similar to Obraztsov’s varietyshows because they both embraced the materiality of the puppet as well as the bare handas a puppet, they were opposed on one major point. Unlike Joly, Obraztsov would neverbreak the illusion of life of the puppet. For instance, in one of his pieces mentionedabove, Mussorgsky’s Lullaby, Obraztsov used to put the baby to bed and leave him. Inorder not to stop the suspension of disbelief of the public, Obraztsov always did thatfinal action behind the puppet booth. The audience could still believe that there was ababy sleeping behind the booth.In the 1950s and the 1960s, some soloists who worked also in cabarets went onestep further than Joly. They created acts in which the puppet acknowledged thepuppeteer’s presence. That was the case for artists such as the German soloist AlbrechtRoser and the French soloist Philippe Genty. Both used short-string marionettesmanipulated in full view of the audience. Unlike Joly, who performed with quiteabstract forms or everyday objects like umbrellas that he used as puppets, Roser andGenty used traditional figures of puppetry, such as a clown named Gustaf for Roser andPierrot for Genty. For instance, during an act Roser would help his puppet to reach achair so Gustaf could sit down. The puppet would look back at Roser and nod to signifyits gratitude. Genty’s relationship with his puppet Pierrot was more dramatic. Gentycreated a short piece in which the puppet Pierrot became aware of the existence ofstrings that connected him to the puppeteer. Pierrot would try anything to untie himselfand would finally cut the strings and die.Genty and Roser are fine examples of some of the puppeteers from WesternEurope who followed a parallel path to that of some companies of the Warsaw Pact.42
However, unlike their fellows from Eastern Europe, Western puppeteers did not inscribethemselves within the theatre industry but within the tradition of variety shows. Thiswas mainly due to a lack of funding available for puppetry in Western Europe. Most ofthe puppet companies were made up of a small number of performers. In The History ofEnglish Puppet Theatre (1990), George Speaight reports that, in the 1950s, only a fewshows produced by the major puppet companies present in Britain could afford morethan three operators. They had to perform in cabarets, holiday resorts or public spaces inorder to make a living, as they had little access to other venues.Around the beginning of the 1970s, the situation changed in Western Europe.Sources of funding for puppetry slowly increased because of new cultural policies. InFrance, the decentralization policy introduced by André Malraux, minister of culture inthe 1960s, encouraged puppeteers to have access to the same venues as theatrecompanies. Thanks to French theatre director Antoine Vitez, a supporter of puppetry,the Théâtre National du Palais de Chaillot opened its doors to puppeteers such as AlainRecoing. This new situation had a massive impact on their practice. Puppeteers emergedfrom their small puppet booths since the whole stage had to be used. Discussing thesehistorical changes at a conference on The Presences of the Puppeteer organised by LesSaisons de la Marionnettes in Paris, French scholar Chantal Guinebault-Slamowiczargued that the access to new venues in correlation with increased budgets opened newpotentialities of exploring the scenic space. Puppeteers had to conceive original scenicapparatus. Guinebault-Slamowicz defines the function of the apparatus in puppetry asfollows: ‘an apparatus is not seen, it enables you to see’ (Guinebault-Slamowicz 2009).Each apparatus represents a specific relationship between the puppeteer and theaudience.Three forms of puppet theatre emerged from the development of new scenic43
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 and 32: accept the determination of structu
Page 33 and 34: organisation without distance of th
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: organisations decided to explore ne
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
show all

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

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?