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

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Bunraku is conceived as a traditional form of performance.I will refer to Bunraku in this thesis only to discuss its puppetry element. InBunraku, each puppet is manipulated by three puppeteers (ningyozukai). The latter aredressed in black and two of them are hooded. The hierarchy is very strict among thethree puppeteers. The master-puppeteer (omozukai), who is not hooded, is in charge ofthe head and of the right hand, another operator (hidarizukai) of the left arm and theprops and finally the third (ashizukai) of the legs.The discovery of Bunraku by Westerners happened in the first half of thetwentieth century through the writings of novelists and travellers. One of its mostprominent admirers was the playwright Paul Claudel who discovered Bunraku in the1920s when he was the French ambassador in Japan. In 1926 he published an essayabout Bunraku in L’Oiseau Noir dans le Soleil Levant, a collection of his memories ofJapan (quoted in Gilles 1981: 94). This essay seems to have left a strong impression ontheatre-makers. It was cited many years later by French theatre director Jean-LouisBarrault in an article originally published in Cahiers Renaud-Barrault which depicts hisown experience of a Bunraku performance in Osaka in 1960 (Barrault 2011).After World War Two, Western scholars such as Donald Keene and BarbaraCurtis Adachi studied Japanese culture and history and rediscovered Bunraku.Subsequently, books were published which gave a wider exposure to the form. RolandBarthes dedicated a chapter to Bunraku in his book on Japan entitled L’Empire desSignes, first published in 1970. In the 1980s Bunraku companies were also invited toperform in international festivals where they raised a lot of interest amongst theatremakers.Nowadays Bunraku is an inspiration for a number of contemporary artistsinvolved in puppetry even though most of them have probably never watched a Bunrakuperformance. It is usually a second-hand experience in the sense that they have been46
inspired by other contemporary artists who have seen Bunraku in the past or have readbooks or articles about it. Today in Britain, any visible manipulation of large-sizepuppets effected through direct touch on the puppet or through short rods is often calledBunraku-style puppetry although there is no formal agreement amongst the Britishpuppet community on this terminology.I suggest that Bunraku had two main effects on contemporary puppet theatre.First, it reinforced the evolution that happened in Eastern Europe from the end of the1950s onwards and in Western Europe from the beginning of the 1970s. It probablyconvinced more artists that the visible puppeteer was not a bizarre concept to apply topuppet theatre but on the contrary a way to breathe a new life into it. This acceptancemay also have been reinforced by the fact that such a form had a strong tradition andtherefore could be potentially accepted by Western audiences. Secondly, Bunrakuchanged the spatial relationship between the puppeteer and his puppet. This relation hadalways been vertical in Europe. The puppeteer was placed either above or below thepuppet. Even in the examples of Albrecht Roser, Tandarica and Philippe Genty, therelation was vertical because they used string puppets. In Bunraku, the puppeteer is atthe same level as his puppet. Thus the spatial relationship between the two of them ishorizontal. Bunraku has been inspirational for contemporary puppet theatre byreinforcing the principle of disclosing the puppeteer on stage.2.2. Current trendsThe visible presence of the puppeteer is now preponderant over the hidden puppeteer incontemporary puppet theatre. However, the aesthetic forms used by artists engaged insuch practices of puppetry, as well as the themes tackled, are so vast and complex that a47
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 and 42: organisations decided to explore ne
Page 43 and 44: However, unlike their fellows from
Page 45: time of writing this thesis. The di
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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