From: "Kismet" <kismet-AT-bigpond.net.au>
To: <puptcrit-AT-puptcrit.org>
Date: Mon, 24 Mar 2008 20:49:40 +1000
Subject: [Puptcrit] Hey Caro,


Are you the same Caro that performs with Lenka Malchova sometimes? Be a 
weird coincidence but then again....

Cheers

D.


----- Original Message ----- 
From: "Caro Stewart" <papusi_marionete-AT-yahoo.com>
To: <puptcrit-AT-puptcrit.org>
Sent: Monday, March 24, 2008 1:05 PM
Subject: Re: [Puptcrit] Can Horrendous be Appealing and Efficient?


Mathieu,
I wonder if it's my English as a second language that creates this lack of 
understanding. For what I care you could use a real skull (preferably that 
of George W. Bush) in all of your shows and if you want a "side dish" of 
femurs, knee caps, ribs and spinal vertebras to have the menu complete, so 
be it. Good luck with Dubya, though.
What you have failed to explain so far is the "tremendous benefit" that 
derives from using real bones and skulls (besides making 180 million 
Americans happy).
You have an impressive talent when it comes to drawing and making puppets 
and without a doubt you can flirt with originality any time you wish. Using 
real human bones it's not supposed to give you that EXTRA STUFF, which would 
put any audience on their asses even if you were performing in front of a 
tribe of Stone Age Era that can still be found on the Amazon river.
I am not a novice to not know what an audience wants (in general) and 
basically, that was the reason for my posting the original message that 
started World War Three.
Today's technology allows the reproduction of pretty much everything we 
could think of (in fine detail) and I consider the use of fake items a 
preferred way, particularly because it does not come in conflict with some 
people's beliefs, religion, customs, adversity towards anything associated 
with death and the dead, etc.
It is an enormous difference between the Man of Cromagnon using his deceased 
sister's skull to make a soup bowl out of it and Matthieu Rene who wants to 
use a real human skull (I wouldn't mind Cheney's either) during a puppet 
show.
Think about it.

Caro

Mathieu René <creaturiste-AT-primus.ca> wrote:
I completely agree with that part.
My motto is: whatever works.
I'd go for real or fake, depending on what the overall advantages are for a
specific project.
Perhaps real bones may be much more brittle than their resin or plastic
reproductions.
Then again, the reproductions aren't always as accurate or as complete as
the real stuff (which I am aware might not be necessary for a Theatre use,
but might be for a film in high definition).

But then you seem to go on trying to enforce your opinion that using real
bones is bad, or, as you put it:
"bring absolutely nothing else to a show that the fake ones couldn't."

This is where I disagree. I used to close my mind like this about certain
methods and materials, and I found out I was missing out on a lot of great
solutions! I have a hard time imagining what went through my mind back when
I
convinced myself leather masks were not a good idea. Now I know how wrong I
was, and I try to keep an open mind, give each method a chance!

What if real bones are the only thing available, or the only thing that will
work exactly for the specific project (in looks and finish and weight and
budget)? What if one's show was about spirituality and environment, and the
use of artificial reproductions would harm the intent (and the environment)?

Our ancestors all over the world, have used bones as tools, accessories,
jewelry, sacred objects, performance objects. Only in recent History have
bones been neglected, replaced by artificial materials.
To me, bones have as much value as art materials as wood, stone or metals.
If used properly and their properties be taken into consideration.




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