File puptcrit/puptcrit.0904, message 295

Date: Wed, 22 Apr 2009 12:52:11 -0700
Subject: Re: [Puptcrit] Skill Sets


As a person with a number of skill sets and  an  adverseness to  
peoples saying "you can't do that"  I have found my chief  
satisfaction, over the years, in doing exactly what people said I  
couldn't do. Mike Oz was my chief "nay sayer" nemesis and the  
conflict went on for years. I keep a button picture of him above my  
computer to remind myself that the satisfaction in being an artist  
often lies in the attempt irrespective of the
outcome. By the way  I did get your Faust video and loved it. I found  
it quite fascinating and refreshing to see that traditional  
approaches are not been given up on. Certainly your many skills came  
into play in the piece and I the loved the lighting, editing and the  
interesting shots you chose, in and out, the follow, and  reaction  
shots of puppets,  proving once again that articulated movement is  
not a necessity to creating mood and introspection. Thanks so much of  
sending it to me. The point of many is well proven in its creation.

My one question is why did we not see Faust transformed into a young  
man for the seduction of Marguerite?  His is the age old obsession  
that drives one to pursue sexuality which often has no rationale and  
results in the numerous instances of  "self destruction" we find in  
political and literary life today. We need to see what it is he is  
willing to sell his soul for and it certainly isn't Marguerite but  
his own self obsession.


On Apr 21, 2009, at 11:52 AM, Steven Barr wrote:

>  Skill sets
> Combining the talents and skills of many individuals is what allowed
> Henson=92s company to put Puppetry on the map in the USA and allowed  
> for a
> rebirth of Commercial puppetry abroad. Even in the live theatre arena,
> combining skills of others with a proper regard for viability is a  
> great
> formula for artistic (and $) success (Vince Anthony=92s Center in  
> Atlanta
> comes to mind). The Entrepreneur cannot be understated in this  
> recipe for
> the successful modern puppeteer. But the difference is if one wants to
> remain solo or not. To be solo is a lonely road and it may be a  
> choice for
> some (it was mine for many years) but an emotional necessity for  
> others.
> Many puppeteers just don=92t work well with others=85 and those people  
> may be
> forced to do many things on their own, most often with mixed results.
> Hopefully the 'solo need' stems from the intense desire to =93say=94  
> something
> that can only be said by one individual person. Sometimes this is  
> just how
> some of us find our =93voice=94. Working with others requires an  
> unusual amount
> of patience and tolerance and letting go of our egos in a way that  
> is often
> "just too hard to do" and the results can be far from what we had  
> originally
> planned and therefore a disappointment.
> The key is to  have a clear VISION (clairvoyance) before one begins=97 
> either
> for a solo road or one where many people=92s skills are correctly and
> beautifully orchestrated. I am believer in the collective creation  
> as long
> as there is clear and articulated vision.
> Steven Ritz-Barr
> Classics in Miniature, inc
> The Metropolitan Puppet Authority, a non-profit
> _______________________________________________
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