Puppetry

I’ve been entertaining the idea of using puppets to create the night life either with the dancers (pulling the strings) or as some part of the musical element happening in the background or even in the isles or happening somewhere in the audience. Off stage? (*tba) But for sure it is Tye’s “other” life in the city with Fat Charlie, Big Edna and Champagne Girl.

Even if we don’t actually use puppetry in the final act of our play, (in the physical sense), I’d like the dancers to think about gestures created when the body of those pulling the strings become manifested. I’d like to see those gestures investigated during our 3rd Reading/Rehearsal *Oct 14, 2013 (Indigenous People’s Day)

So please don’t look so much at the actual puppets, rather look at the gestures that get created by the masters moving the strings…..

I’m Not Stiller

3SAT KULTURZEIT “STILLER”3sat Kulturzeit über “Stiller” am Münchner Residenztheater. Regie: Tina Lanik und Mervyn Millar In Zusammenarbeit mit der Handspring Puppet Company

reference material | to create the world of Fat Charlie, Big Edna & Champagne Girl
*I keep seeing PUPPETRY happening in the background of the play and maybe the dancers could start to embody physical features of their characters. I’d like the dancers to consider these physical features while performing for our next reading.

http://www.arte.tv/guide/de/048098-001/wie-man-puppen-zum-sprechen-bringt#details-photos

And if I wasn’t directing “I Never Get Dressed ‘Till After Dark On Sundays” I would be all over this play: Moony’s Kid Don’t Cry. And there would be puppetry in that piece too!

Moony’s Kid Don’t Cry