Date: Thu, 2 Dec 1999 18:07:19 -0500
From: Robert Smythe <78rsmythe-AT-andover.edu>
Subject: Re: PUPT: Puppetry Appreciation


Dear Chris,



> As for theater departments being more resistant than dance or art

>departments I would hve to agree. I believe that is is due, at least
in

>part, to the attitude that you don't do "serious" theater with
puppets.


I recently spent 3 days in Toronto with 22 other theatre directors from
Philadelphia. Wait, let me change that. I spent three days in Toronto
with theatre directors from Philadelphia. I am not a theatre director.
I know this now.


Let me explain.


Thanks to the generosity of the Pew Charitable Trusts, which has given
hundreds of millions of dollars to theatre in Philadlephia (where it is
based), the artistic directors of Philadelphia's regional theatres were
invited on an all-expense paid trip to Toronto to see how theatre is
made/created/done in other places. This was the 5th such field trip in
5 years (the next is a two-week stint in London).  After seeing plays
during the day and evening, we separated into 3 groups to talk about
what we had seen, etc. 


I should point out that Mum Puppettheatre was the only puppettheatre
represented. We were also the only non-text based theater there. We
were the only theatre that creates its own, original work. I was the
only one there who actually performs. On stage. So, while I do direct,
I don't consider myself a director, especially after learning how my
esteemed colleagues view the world of performance.


To put it simply, I think we should let go of the reasoning (whining?)
that puppetry is underappreciated by the theatrical world because it is
seen as being for kids. That really doesn't jive with actual
observations. In the words of Richard Feynman, in his excellent set of
speeches "The Meaning of it All," when we make up a theory to test our
observations we have to find the one that encompasses ALL observations.
So, what theory works here and includes "Symphonie Fantastique," "Lion
King," and the innumerable successes many of us have had that bear no
taint of this marginalization.


I would propose this explanation: most theatre directors (especially at
the University level) don't get it. They don't understand the complete
freedom that puppetry presents the theatre artist. What they often see
is far beyond interpreting a written text, yet that is all they know
how to do. What are they to make of someone who synthesizes a
production from elements of the performing and plastic arts?
<underline>And</underline> performs it all, to boot. 


My mother used to say, "They're just jealous." And maybe they are. But
it is interesting to me that this phenomenon is at work in more than
just puppetry and its relationship to theatre (and theater faculty).
I'm at the University of Missouri, Kansas City, beginning my
collaboration with Daniel Stein on "The Leonardo Project" for April. He
is here teaching MFA students how to create theatre based on their
ideas and their talents. The regular faculty "don't get it." 


So, there's my 2 cents. A few more will get you $70,000.



Robert Smythe 
Robert Smythe

Artistic Director

Mum Puppettheatre

115 Arch Street

Philadelphia, PA 19106



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