File puptcrit/puptcrit.0802, message 765


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)
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