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This reconceptualisation of the puppet body is apparent in the work of<br />contemporary artists of note such as Joan Baixas, Robert Wilson, and Rachel<br />Field and Nenagh Watson of the recently dissolved company doo-cot. In<br />much of the work of these practitioners, the puppet is deconstructed through<br />examination of its separate and fragmented body parts; the illusion of the<br />body is lost. The puppet body can be seen as emblematic of mortality, vulnerable<br />and destructible, but linked intrinsically to the world of matter and the<br />longer-lasting memories embedded in things. Within this kind of puppetry,<br />the puppet has lost all traces of itself as character, or as complete thing; the<br />puppet body has become identification.<br />It is this idea of the body as designed and constructed to represent<br />concerns about identity which pervades much contemporary work. Faulty<br />Optic have developed the genre to include manipulation of water, using<br />underwater puppets, and puppets made up of part-body, part-object, as in<br />Snuffhouse Dustlouse, where the main character has a sack for legs, and is<br />constantly searching for his parents, whom he finds eventually pickled in his<br />own kitchen. The performer Marcel.li Antúñez, though not a puppeteer, has<br />developed performance where his own body is used as part human and part<br />constructed figure to question identity and contemporary political and social<br />concerns through using his body as a canvas to experiment with. One of the<br />shows at the Bialystok puppet festival, Transitions, by the company Yalla,<br />included scenes where the entire scenography became animated to suggest<br />hostility towards immigration; thus the marionetisation of the entire stage<br />has become part of puppetry as an approach. The shadow work of Catalan<br />company La Cònica/Lacònica is developed from the projections of images of<br />found objects, as in Ombres d’Objectes Trobats, their first show. The objects are<br />found around the streets of Barcelona and its locality, and suggest memories<br />of the city itself, questioning what it means to be Catalan. Another Catalan<br />company, Playground, shows the actor-puppeteer surrounded by fragments of<br />used and broken objects which bring him into a direct relationship with his<br />own memories, thus exploring his self-knowledge.<br />While many of these tendencies have been present within puppet theatre<br />for many years: object theatre and projection of shadows is not new, and<br />puppeteers have always experimented with new means to construct puppets,<br />including matter and objects; I would suggest that from a place of increased<br />interdisciplinarity, the puppet body has changed from a constructed, fictional<br />body representing a character or idea, to a scenic construction of puppetry,<br />where all elements, including actors’ bodies, objects, set and all scenic elements<br />are now used as puppets. This includes aspects previously considered<br />as technical, such as lighting and sound. The contemporary body is clearly a<br />MÓIN-MÓIN<br />67<br />Revista de Estudos sobre Teatro de Formas Animadas
68<br />Revista de Estudos sobre Teatro de Formas Animadas<br />MÓIN-MÓIN<br />designed body; the puppet body is now the entire stage. This development, as<br />suggested earlier, takes us back to animism and the question of identification<br />of puppeteers themselves: are they total escapists or total realists: escapists<br />because they entertain the idea of life within matter; or realists in considering<br />that in no way can the body be any more alive or important than the other<br />things surrounding it. It can only exist in a relationship with all matter.
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Edição e distribuição www.desig
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Sociedade Cultura Artística de Jar
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Móin-Móin é uma publicação con
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Encenando os direitos humanos duran
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O Teatro de Formas Animadas e as Ou
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nella Eruli (Itália), Luiz Fernand
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Tradução de Adriana Aikawa da Sil
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14 Revista de Estudos sobre Te
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Uma viagem entre percepção, 
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Os obstáculos encontrados nos prim
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da realidade trivial e sórdida. O
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A MARIONETE Nos nossos espetá
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se perde ou despenca para vertigens
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e a parte melódica se torna repeti
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Para cada uma das nossas criações
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Notes de travail - un voyage entre
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partager avec d’autres à travers
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perte d’identité dans une ville
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J’écris souvent à partir d’un
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Em um passado não muito distante,
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A teatralidade de Lepage funciona n
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tecnologias inseridas no espaço f
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A apropriação de outras culturas
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esta seção, o teatro de bonecos B
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com um amor de muitos anos. Elsinor
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The Far side of the Moon ( 2001) -
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esta idéia para fazer o espetácul
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de os acontecimentos que eles exper
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Theatricality of marionettes in Rob
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process as an ‘Uber Marionette’
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in most of his productions Lepage i
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LAVENDER, Andy. Hamlet in Pieces: S
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