Date: Thu, 21 Feb 2008 23:34:56 -0500 From: The Puppetry Arts Theatre <info-AT-puppetryarts.org> To: <puptcrit-AT-puptcrit.org> Subject: Re: [Puptcrit] Risks That's a great reply, thanks. First let me say that its a running joke in my company that our work has a no strings attached motto...i'm a fan of the technique just not a fan of marionette theatre. My personal tastes and my personal enjoyment is to see it used with in a larger production just not THE production. That's just my personal flava! You gave some great examples... So what I take from it is that you agree that the manipulation is how a puppet can make or break the impact to the audience member. But in today's large scale, big budget, union member, non children's productions- How would you say puppetry is pioneering- if at all. Again would it be technique? On 2/21/08 8:42 PM, "Angusson-AT-aol.com" <Angusson-AT-aol.com> wrote: > Hi Tim: > > Not sure this applies, but in Paula Vogel's 'The Long Christmas Ride Home,' > rod puppets were used as 'alter-egos' for the main characters. The puppets > were > somewhat effective as a device to allow the 'human' characters to express > their innermost feelings, but for me, I was never really able to 'connect' > with > the puppets as believable entities. Sorry to say, I think that part of the > problem was the lack of rehearsal time with an experienced puppet director. > Not > unusual. The lack of subtleties of manipulation and (perhaps) the inability of > the puppeteers (or their willingness) to invest in their characters may have > contributed. > > The Metroplitan Opera's recent production of Magic Flute used some puppets > but for me, seemed more connected to the popular Chinese acrobatic and 'objet' > style as some might witness with Cirque du soleil than it was to the opera. > Full of sound and fury signifying nothing...It did nothing (for me) to advance > OR > enhance the story line. Again, this is very subjective. > > Not quite a large theater presentation but more powerful than most I've seen: > I have seen an outstanding piece of 'modified' Bunraku-style puppetry by > Phillipe Genty and company. (Three puppeteers) > It was a large samurai warrior fighting an unseen opponent. The power of the > manipulation actually made the hair on the back of my neck stand up. Really. > No kidding. No movement was wasted - each gesture was well thought out. The > figure breathed. It thought! The presentation was non-verbal, but the story > line > was clear. Incredible. Not to be argumentative, but bigger isn't necessarily > better. > > I would dare to suggest that HOW the presentation is prepared within the > context of the piece might have a LOT to do with how successful it would be. > Suitability? > > If you've read this far, ( I do go on....) I would like to ask why you > state that you hate marionettes. I work with them and know they can be an > effective theatrical medium capable of moving audiences. I have seen the very > best and > the very worst. > > Thanks, > Fred T. > >> MathIEu.... >> >> you have not paid a bit of attention to what I was asking or saying. >> >> Please refer back to Jon's email- perhaps it can clarify your thots. (see >> below) >> >> > > > > > ************** > Ideas to please picky eaters. Watch video on AOL Living. > > (http://living.aol.com/video/how-to-please-your-picky-eater/rachel-campos-duff > y/ > 2050827?NCID=aolcmp00300000002598) > _______________________________________________ > List address: puptcrit-AT-puptcrit.org > Admin interface: http://lists.puptcrit.org/mailman/listinfo/puptcrit > Archives: http://www.driftline.org _______________________________________________ List address: puptcrit-AT-puptcrit.org Admin interface: http://lists.puptcrit.org/mailman/listinfo/puptcrit Archives: http://www.driftline.org
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