tag:blogger.com,1999:blog-4453044212270544732024-03-04T23:48:08.158-08:00Dream Tale PuppetsDream Tale Puppetshttp://www.blogger.com/profile/04883241477889443041noreply@blogger.comBlogger12125tag:blogger.com,1999:blog-445304421227054473.post-40571606215674915152019-07-24T21:22:00.000-07:002019-07-24T21:33:05.615-07:00The Letter from Dream Tale Puppets’ FounderThere is no one way to become or to be a puppeteer.
In my native <st1:country-region><st1:place>Poland</st1:place></st1:country-region>, a puppeteer is usually an actor trained at a <st1:place><st1:placetype>Theatre</st1:placetype> <st1:placetype>Academy</st1:placetype></st1:place> in live acting, acting with a number of kinds of puppets
and in other performing skills. In the <st1:country-region><st1:place>United States</st1:place></st1:country-region>, professional puppetry artists come from many walks of
life, and various professional disciplines. They study or work as actors or
fine art artists, writers or teachers; they come from the circus or the world
of music; they study at universities, and they hone their skills apprenticing
at professional theaters and learning from masters from all around the world. As
much as there is no one form of puppetry art, there is no one way for this
practice to relate to and with society and the environment. Every puppetry
company creates not only its repertoire and other programming features but also
chooses a business model and organizational structure, to define or find,
create and develop its own place in society.<br />
<br />
<span style="color: black;">I had twenty years of study and professional
theatrical and puppetry experience in </span><st1:country-region><st1:place><span style="color: black;">Poland</span></st1:place></st1:country-region><span style="color: black;">, but after arriving on </span><st1:place><span style="color: black;">Cape Cod</span></st1:place><span style="color: black;"> in 2001,
I had to find new ways to practice a puppetry. Dream Tale Puppets was founded
in 2003 as a branch program of the Cape Cod Children’s Museum, one of my visa
sponsors. </span><st1:place><st1:placename><span style="color: black;">Today</span></st1:placename><span style="color: black;"> </span><st1:placename><span style="color: black;">John</span></st1:placename><span style="color: black;"> </span><st1:placename><span style="color: black;">Wesley</span></st1:placename><span style="color: black;"> </span><st1:placename><span style="color: black;">United</span></st1:placename><span style="color: black;"> </span><st1:placename><span style="color: black;">Methodist</span></st1:placename><span style="color: black;"> </span><st1:placetype><span style="color: black;">Church</span></st1:placetype></st1:place><span style="color: black;"> in </span><st1:city><st1:place><span style="color: black;">Falmouth</span></st1:place></st1:city><span style="color: black;"> provides us with studio, rehearsals and performing space. Friends,
Laura Opie and Gail and Eric Stewart, give a home to our many puppets, sets,
technical equipment, and materials for our next projects. <o:p></o:p></span><br />
<span style="color: black;"><br /></span>
<span style="color: black;">Dream Tale Puppets produces and performs puppet
shows with the goal of providing high quality theatrical experiences to our
audiences. We use diverse puppetry techniques, masks, and live acting. Each
production generates its own creative process; each develops its own theatrical
and visual language. In some projects, we begin by writing a play, often
adapting fairy tales or children’s literature; in other projects, as in our
present production, the script emerges during the rehearsals. <o:p></o:p></span><br />
<span style="color: black;"><br /></span>
<span style="color: black;">We also bring shows by puppetry artists from
beyond the bridge and the state border to </span><st1:city><st1:place><span style="color: black;">Falmouth</span></st1:place></st1:city><span style="color: black;">, with the goal of giving </span><st1:place><span style="color: black;">Cape Cod</span></st1:place><span style="color: black;">
children and families easy and frequent access to this wonderful art. <o:p></o:p></span><br />
<span style="color: black;"><br /></span>
<span style="color: black;">In cooperation with </span><st1:place><span style="color: black;">Cape Cod</span></st1:place><span style="color: black;">
cultural organizations, we produce and conduct workshops and other educational
and artistic projects for children and adults. Designing, building, and acting
with puppets, creating puppet stages, and inventing stories, dialogs and
characters offers a joyous opportunity to develop creative and social skills. Our
projects can be adapted to a variety of educational, recreational and other
needs and goals.<o:p></o:p></span><br />
<span style="color: black;"><br /></span>
<span style="color: black;">Dream Tale Puppets’ actors live on </span><st1:place><span style="color: black;">Cape Cod</span></st1:place><span style="color: black;">, in
the Greater Boston Area, and in NYC. We tour, but </span><st1:place><span style="color: black;">Cape Cod</span></st1:place><span style="color: black;"> is
our home base; most of us live here, and we develop most of our new projects
here. Each of our projects is a new adventure; we practice a variety of
creative approaches, so Dream Tale Puppets takes many forms--and offers many
ways to be involved. Each project has its own ensemble, which transforms and
grows. Shows, which stay in our repertoire for years, are often open for new
actors to join. <o:p></o:p></span><br />
<span style="color: black;"><br /></span>
<span style="color: black;">If you are interested in seeing more puppetry
programs on the </span><st1:place><span style="color: black;">Cape</span></st1:place><span style="color: black;">, please join our emailing list. Please tell your friends
about this event and upcoming programs. Check our website and follow us on
social media. If you would like to be a part of developing puppetry on </span><st1:place><span style="color: black;">Cape Cod</span></st1:place><span style="color: black;">,
please let us know. There are many ways to contribute, from ushering and
holding box office duties, preparing venues, posting posters or information
online to helping with editing texts or building puppets. If you are interested
in learning acting, acting with puppets, or voice acting, let us know. We have
actors in training program, and we will be happy to find a place for you. It is
exciting to imagine what we could do together. <o:p></o:p></span><br />
<span style="color: black;"><br /></span>
<span style="color: black;">Thank you!<o:p></o:p></span><br />
<span style="color: black;">Jacek Zuzanski<o:p></o:p></span><br />
<br />Dream Tale Puppetshttp://www.blogger.com/profile/04883241477889443041noreply@blogger.com0tag:blogger.com,1999:blog-445304421227054473.post-16590004508588356662017-04-27T09:18:00.002-07:002017-05-02T19:25:09.048-07:00Acting with Puppets: Workshops with Dream Tale Puppets <span style="color: black; font-family: "arial" , "helvetica" , sans-serif;">Dream Tale Puppets is launching an opportunity for people
interested in joining our work. We started on a Monday evening, early in April,
at the Puppet Showplace Theatre. Thank you PST for hosting the session!</span><br />
<span style="color: black; font-family: "arial" , "helvetica" , sans-serif;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black; font-family: "arial" , "helvetica" , sans-serif;">Much of our first workshop was dedicated to fundamentals of
acting and acting with table top puppets.<span style="mso-spacerun: yes;">
</span>In Dream Tale Puppets we aspire to avoid manipulating puppets. We act
with puppets. Deeds of an actor‑puppeteer are as important as the actions of a puppet.
Both are usually present for the audience to see. The workshop introduces
acting techniques we use in Dream Tale Puppets. We are aiming to create an
opportunity for people interested in learning, practicing and maybe even
mastering these techniques. The workshops will also be preparing for our
upcoming projects.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black; font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black; font-family: "arial" , "helvetica" , sans-serif;">Acting in theatre has its own rules for using the body, different
from how we use our body in everyday life. In dance these rules are still
further from rules of everyday behavior. Even bigger are differences between
everyday life of the human body and life of the body of puppet and puppeteer. To
perform on stage we learn new sets of techniques to use our arms and legs. This
is as applicable to dancing and live acting as it is valid for acting when we
partner with a puppet.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black; font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black; font-family: "arial" , "helvetica" , sans-serif;">In Dream Tale Puppets’ newest production, “Alice in
Wonderlands,” we are following our heroine Alice into absurd and puzzling
worlds as she searches for her lost pet kitten and her identity. I am bringing
to this project creative approaches and techniques from my earlier experiences.
Margaret Moody is bringing her own bag of skills, experiences, and knowledge.
We are developing material for the show during the rehearsals. To some extent
in this project we explore how each of us could be a part of the creative
process, who we are in this process, and how could we “write” the play together
as we go. I use a variety of approaches and ways to create puppets. As <st1:city><st1:place>Alice</st1:place></st1:city>
goes through changes she is reinvented with table top, rod, long neck “snake,”
and figure puppets. Some puppets are built following a design; others are assembled
out of found and recycled materials with no earlier specific design.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black; font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black; font-family: "arial" , "helvetica" , sans-serif;">Immersing in a creative process where each member of the
ensemble brings something distinctive and they together shape the work of art,
as we do in “<st1:city><st1:place>Alice</st1:place></st1:city>,” is an approach
I used often in my European projects and in work with youth and children. It is
a new work mode for Dream Tale Puppets. In producing “Rumpelstilskin,” a show
in the table top style of puppetry, we worked in a more traditional way. The text
of the play was mostly ready when we started rehearsing. Five puppets were built
following designs. In our last show, “Jack and the Beanstalk,” we use still
another performing style where one performer acts with puppets, performing
objects, and in mask while the other performer gives voices to the characters
and narrates the story.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black; font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black; font-family: "arial" , "helvetica" , sans-serif;">As artists we give life to voices, sounds and pictures
inspired by the changing fast world around us. We respond to challenges and
seek to reinvent ways art and theatre are practiced and shared to better serve the
communities we are connected with.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black; font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black; font-family: "arial" , "helvetica" , sans-serif;">We are inviting people interested in working together, in
learning and figuring out what we could do next. Workshops help lay the
groundwork for upcoming Dream Tale Puppets’ projects and productions. We will also
be seeking ways to accommodate and utilize a variety of interests, talents,
abilities and levels of possible involvement of actors and artists
participating in our future programs.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black; font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black; font-family: "arial" , "helvetica" , sans-serif;">Please send us an e-mail us at </span><a href="mailto:info@dreamtalepuppets.org"><span style="color: black; font-family: "arial" , "helvetica" , sans-serif; text-decoration: none;">info@dreamtalepuppets.org</span></a><span style="color: black;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
if you are interested in joining upcoming workshops. Let us know about your
theatrical or creative experience, attach a resume and relevant biographical
information. <o:p></o:p></span></span></div>
Dream Tale Puppetshttp://www.blogger.com/profile/04883241477889443041noreply@blogger.com0tag:blogger.com,1999:blog-445304421227054473.post-60532326329861431662016-04-11T19:07:00.000-07:002016-04-11T19:08:59.920-07:00Jacek Zmyslowski and My Participation in His Projects<br />
<span style="color: black; font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial";">Several months ago Stefa
Gardecka, my friend from </span><st1:city><st1:place><span style="font-family: "arial";">Wroclaw</span></st1:place></st1:city><span style="font-family: "arial";">
who worked for many years at the Laboratory Theatre of Jerzy Grotowski,
sent me an e-mail. She wrote about her intention to collect materials and to
prepare a book about Jacek Zmyslowski, who was the artistic director of
paratheatrical projects at the Laboratory in years 1976 -81. Stefa invited me
to answer a few questions about Jacek and about my participation in projects
led by him. I did. Later on I heard from Stefa, that Jenna Kumiega, a theatre scholar
who wrote about the Laboratory Theatre, is working on the new edition of her
book and asked if it would be possible to translate texts about Jacek, so
she may include some parts of this material in her new work. Luckily,
Stefa and her son Piotr Gardecki agreed to help, and the four of us translated
my short writing into English. <o:p></o:p></span><br />
<span style="font-family: "times new roman";">
</span><br />
</span><div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black; font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial";">The text is about Jacek
Zmyslowski, and it tells about my first paratheatrical experiences and how
important these projects were for my thinking about theatre and growing as an
artist. <o:p></o:p></span></span></div>
<span style="color: black; font-family: "arial" , "helvetica" , sans-serif;">
<span style="font-family: "times new roman";">
</span><br />
<span style="font-family: "times new roman";">
</span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="font-family: "arial";"><strong>Jacek Zmyslowski and My
Participation in His Projects<o:p></o:p></strong></span></div>
<span style="font-family: "times new roman";">
</span><br />
<div style="line-height: 115%;">
<span style="font-family: "arial";">My first meeting
with Jacek was a formal conversation in preparation for The Vigil. The
conversation probably took place in the room behind the office....or in the
room above the performance space, I’m not sure. Jacek was kind, focused and
inquiring. You could feel his profound attention. I remember he emphasised that
my experience in pantomime was unimportant (by that time I had been active for
a few years in amateur pantomime theatre in Bielsko, led by Tomaszewski's mime-artist
Witold Daniec). Better that I forget about any techniques which I may have
picked up. Jacek introduced me to the rules of participation. Actually, he said
that my participation was expected.<span style="mso-spacerun: yes;"> </span>It
was essential that I was ready to be part of the action. I don't remember if he
said much more about rules. Rather, he was leaving things very open, although
he was also somehow warning against intellectualisation, attempts at
rationalisation or “play-acting.” Unfortunately, anything I might write now
would only be my imagined memory of this conversation.<o:p></o:p></span></div>
<span style="font-family: "times new roman";">
</span><br />
<div style="line-height: 115%;">
<span style="font-family: "arial";">The memories I have
of my participation in the Vigils are similarly vague. I remember the moment of
being led into the room for my first Vigil. There were already a few people
there. A few were led in after me. Each of us was shown, by those leading, a
place to crouch or squat down in the room.<span style="mso-spacerun: yes;">
</span>When everyone was in, an air of expectation began to grow.<span style="mso-spacerun: yes;"> </span>It started with gazes around, someone turned
to look behind.<span style="mso-spacerun: yes;"> </span>I didn't know how many
were leading, and who was participating and who was leading, except for two of
them (probably) including Jacek.<span style="mso-spacerun: yes;"> </span>Slowly
people began to move. Since I didn't know how many were leading, and I suspect
the other participants didn’t know either, I didn't know when an action came
from one of the leaders, or whether it was a reaction, or an initiative of a
participant. At first the actions were simple: someone got up, took a few
steps, and crouched down again, someone carefully turned around.<span style="mso-spacerun: yes;"> </span>Attention pervaded the smallest of gestures,
was present in glances, and reactions. In time the actions began to grow and
gain complexity, becoming more energetic and dynamic. Chains of actions and
reactions emerged, growing organically, pulsating, intertwining. Compositions
arose, or were created, in which people took part in pairs, in small or large
groups. There was rhythm, dance, spontaneity and dialogue. There appeared
sequences of incredible energy and trance-like features in which people were
“flying”, transgressing the limits of their known physical expression. In these
moments, the action of the group and of each of the participants seemed to be
directed by some sort of intrinsic inner power of its own, an internal,
indescribably powerful, bright impulse of incredible wisdom, which meant that,
swirling in those para-acrobatic dances and actions, letting ourselves be led
by inner nature, no limbs were broken. There were sequences of activity of
extraordinary lyrical power, quiet, delicate and radiating sensitivity. Moments
occurred when a participant slipped into something sentimental.<span style="mso-spacerun: yes;"> </span>Then those leading, becoming aware of falsity
and pretension, usually let this fade away by itself, or helped in bringing it
to an end, tactfully indicating its inappropriateness. These tactful and very
rare instructions or suggestions were very discrete, and usually unnoticeable
by those not directly involved.<span style="mso-spacerun: yes;"> </span>These
were the ways the project was led - creating, nourishing, supporting, and in
dialogue through action.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<span style="font-family: "times new roman";">
</span><br />
<div style="line-height: 115%;">
<span style="font-family: "arial";">I am writing these
words after nearly forty years. At that time I was a young man, eager for the
world and any intense experience. Today, I have been through theatre school,
training in a range of acting techniques, further paratheatrical experiences at
the Laboratorium, work with Grot’s actors, workshops with Odin Teatret,
Gardzienice, and a number of other theatre artists, as well as years of my own
experience as an actor, teacher, acting coach, and a stage director. <o:p></o:p></span></div>
<span style="font-family: "times new roman";">
</span><br />
<div style="line-height: 115%;">
<span style="font-family: "arial";">The meeting with
Jacek and his work was formative for me. These projects initiated me into the
concept and praxis of authenticity of action, whether in daily or extra-daily
life, particularly special, or theatrical. The practices and revelations, which
Jacek and we participants gave ourselves and each other, remain important to me
in my life, my theatre work, and my teaching. <o:p></o:p></span></div>
<span style="font-family: "times new roman";">
</span><br />
<div style="line-height: 115%;">
<span style="font-family: "arial";">I remember a moment
from perhaps my first Vigil, when I was watching what was going on. As I
remember it today, I think that in watching I was beginning to engage in some attempt
at interpretation, and I began to see what was happening from the perspective
of “what does it mean”. I had no notion of “what was going on”.<span style="mso-spacerun: yes;"> </span>I "did not understand".<span style="mso-spacerun: yes;"> </span>Watching my own “non-understanding” I
decided, or some internal programming inside me decided, to react. After all I
had agreed to participate.<span style="mso-spacerun: yes;"> </span>At that time
I was strongly programmed by habits associated with my understanding of acting
processes, in other words the need to interpret, and locate what I was seeing
in terms of “what does it mean” and an action, or rather “play-acting”, in
response to the interpretation of what I was perceiving.<span style="mso-spacerun: yes;"> </span>I saw “incomprehensive”, I interpreted “I
don’t understand”, and something inside me deepened that interpretation and
suggested seeing a “threat”. Because if I don’t understand, then what…. ?<span style="mso-spacerun: yes;"> </span>My reaction was to yell. I remember that to
this day, although I don't know to what extent that impression stamped on my
memory is true. Jacek was immediately next to me. In a moment he saw that
I was “play-acting”, that my reaction was calculated, and I was distanced from
it, that I was simultaneously the one who cried out and the one observing, but
the cry was a response to my idea, and not to what was actually happening. He
quickly brought me back to reality, indicated somehow that that was not the
way. There was great warmth and concern on his part, some kind of care-giving,
and also an ocean of trust. He acted extremely discretely, so that no-one else
could judge me. I don't know to what extent I understood then what was
happening, but it was one of those moments when a door to understanding the
intentions of leaders, and the worlds into which they lead, was ajar.<span style="mso-spacerun: yes;"> </span>Imagining, or acting out the reaction to an
imagined threat was not what it was about. After a while I was ready to join
the action. Jacek was giving support, and gently showing me the direction. His
authority was the authority of a friend, a wise and caring brother, leading
into an intensive group experience, full of discoveries of one’s own nature and
the nature of deep creative and life processes, and the ways to summon up and
shape such special experiences.<o:p></o:p></span></div>
<span style="font-family: "times new roman";">
</span><br />
<div style="line-height: 115%;">
<span style="font-family: "arial";">This was very rich,
and I could mine other scenes or traces from the Vigil, but I'm not sure if
that makes sense.<span style="mso-spacerun: yes;"> </span>It's hard for me now
to disengage from an analytical approach, difficult also to place a fragment of
a remembered scene or action on a time-line.<span style="mso-spacerun: yes;">
</span>At that time I was not that capable of analysis, neither was it expected
of me.<span style="mso-spacerun: yes;"> </span>I leapt into these projects with
complete faith, and was initiated by the leaders in a transformative creative
process, in which we were all both sculptor and sculpture, voice and song,
choreographer and dance, which grew from actions and gestures that were, with
great subtlety, expressively and inspiringly articulated.<o:p></o:p></span></div>
<span style="font-family: "times new roman";">
</span><br />
<div style="line-height: 115%;">
<span style="font-family: "arial";">I participated in
the Vigils several times.<span style="mso-spacerun: yes;"> </span>I also took
part in Tree of People and the Mountain Project. <o:p></o:p></span></div>
<span style="font-family: "times new roman";">
</span><br />
<div style="line-height: 115%;">
<span style="font-family: "arial";">I remember several
important moments from the Mountain Project, doubtless because it was a unique
project, and happened only once.<span style="mso-spacerun: yes;"> </span>I was
walking in the group led by Mariusz Socha and a dark-haired Frenchman, Francois
Kahn. Before departure, Francois acquainted the group with the rules.<span style="mso-spacerun: yes;"> </span>He spoke in French, and for a moment
consternation reigned, before a long-haired bearded guy in glasses began to
translate.<span style="mso-spacerun: yes;"> </span>At that time, I didn't
realise that it was Grotowski.<span style="mso-spacerun: yes;"> </span>Then we
got into the van - why does it seem to me that it was a Ford?<span style="mso-spacerun: yes;"> </span>And off we went. <o:p></o:p></span></div>
<span style="font-family: "times new roman";">
</span><br />
<div style="line-height: 115%;">
<span style="font-family: "arial";">While I was growing
up I walked a lot through the mountains and forests, and have always felt good
wandering along trails and through wilderness. There were many elements of this
trek that were familiar to me.<span style="mso-spacerun: yes;"> </span>At the
beginning I thought: "what's going on?<span style="mso-spacerun: yes;">
</span>They really think that walking in the forest is such a revelation?"
The silence introduced a meditative element, and I'm sure that most of us must
have been faced with the churning of the thinking machine in our minds, as well
as thoughts continually and obtrusively attempting to interpret, to understand
what it's all about.<span style="mso-spacerun: yes;"> </span>This was going on
now and again in my mind, but also the pleasure of moving through the forest
and along pathless tracts was absorbing.<span style="mso-spacerun: yes;">
</span>During the trek we were a group in name only.<span style="mso-spacerun: yes;"> </span>I don't remember the leaders inspiring any
group dynamics.<span style="mso-spacerun: yes;"> </span>Rather by their actions
they modelled ways of moving or activity in relation to what was around
us.<span style="mso-spacerun: yes;"> </span>I remember a moment when we were
struggling through undergrowth.<span style="mso-spacerun: yes;"> </span>We
didn't walk in a line, one after another, which would have been natural and
easier, but most of us, if not all, struggled through in our own way.<span style="mso-spacerun: yes;"> </span>Verbal instructions were minimal, just a few
words throughout the day.<span style="mso-spacerun: yes;"> </span>There was
pig-fat which Mariusz had got from the food store opposite the theatre, before
our departure.<span style="mso-spacerun: yes;"> </span>Eating pig-fat was an
interesting experience.<span style="mso-spacerun: yes;"> </span>I had never
eaten anything like that before.<span style="mso-spacerun: yes;"> </span>We
didn't talk to each other.<span style="mso-spacerun: yes;"> </span>That was the
rule.<span style="mso-spacerun: yes;"> </span>About half-way through the trek, one
or two people had had enough, and backed out.<span style="mso-spacerun: yes;">
</span>One of the techniques was very slow pacing along a dirt track after the leaders.<span style="mso-spacerun: yes;"> </span>I was not willing to deal with that.<span style="mso-spacerun: yes;"> </span>I was charged full of energy, and the leaders
moved in a premeditated way, step by step, at snail's pace.<span style="mso-spacerun: yes;"> </span>I resolved this by walking forwards and
backwards at the end of the line.<span style="mso-spacerun: yes;"> </span>Marek
Musial, who was also in the group, had a similar "problem."<span style="mso-spacerun: yes;"> </span>He solved it by crouching down, waiting for
the group to go some distance, and after a while catching up with them and
crouching down again.<span style="mso-spacerun: yes;"> </span>The trek also had
exceptionally beautiful moments.<span style="mso-spacerun: yes;"> </span>The
most beautiful moment for me was the first sight of the Mountain.<span style="mso-spacerun: yes;"> </span>Suddenly, all that laborious struggle through
undergrowth took on real meaning.<span style="mso-spacerun: yes;"> </span>We
came out of the forest onto the fields and saw the Mountain.<span style="mso-spacerun: yes;"> </span>It arose, solitary, like a volcanic crater
above the flat plain.<span style="mso-spacerun: yes;"> </span>It was a masterful
introduction of an archetypal and unusually powerful image.<span style="mso-spacerun: yes;"> </span>The landscape suddenly began to speak with
double the force.<span style="mso-spacerun: yes;"> </span>From that moment on, what
happened around me, was less essential. The most important thing became
imagining the goal ahead of us.<span style="mso-spacerun: yes;"> </span>The
project<span style="mso-spacerun: yes;"> </span>took on a dramatic<span style="mso-spacerun: yes;"> </span>dimension.<span style="mso-spacerun: yes;">
</span>The image of the Mountain was so overwhelming that you couldn't resist
imagining some kind of mythical reality at its peak.<span style="mso-spacerun: yes;"> </span>In the same way the trek itself took on
mythical qualities. <o:p></o:p></span></div>
<span style="font-family: "times new roman";">
</span><br />
<div style="line-height: 115%;">
<span style="font-family: "arial";">We found Jacek in
the Castle on the Mountain, together with dozens of others.<span style="mso-spacerun: yes;"> </span>There were many elements in the activities
there, which did not appear in the Vigils.<span style="mso-spacerun: yes;">
</span>There was music, there were amazing songs; Jacek played the guitar;
there were awesome drummers, a fire and magnificently prepared interiors.<span style="mso-spacerun: yes;"> </span>The activities were in some way reminiscent
of those in the Vigils, but richer in terms of rhythm and other elements.<span style="mso-spacerun: yes;"> </span>There were also many more participants, and
sometimes different waves of activity flared up in several places at the same
time.<span style="mso-spacerun: yes;"> </span>These were also interspersed with
sleep or rest, especially when a new group was arriving, and when meals were
arranged with care . I knew that Jacek was the leader, but his leadership was
barely noticeable. Those leading worked very well as a team. On the Mountain,
specific elements of creative experience intermingled closely with the communal
living created there, with meals, rest and practical work.<span style="mso-spacerun: yes;"> </span>This brought to life some quality absent in
the Vigils, which only lasted a few hours.<o:p></o:p></span></div>
<span style="font-family: "times new roman";">
</span><br />
<div style="line-height: 115%;">
<span style="font-family: "arial";">Some years later,
Grotowski distanced himself from the paratheatrical period of his work.<span style="mso-spacerun: yes;"> </span>He did this in his characteristically
definitive way. One occasion was in 1990 at a talk/meeting organised at the
Film Studio in Wroclaw when he visited Poland for a few days.<span style="mso-spacerun: yes;"> </span>He was critical both of himself and this
period of the Laboratory Theatre's work.<span style="mso-spacerun: yes;">
</span>He spoke of the superficiality of the projects, of how hard it was for
participants to transcend the power of stereotypical notions of spontaneous
behaviour.<span style="mso-spacerun: yes;"> </span>I was lucky to participate in
projects from the last phase of the paratheatrical work, which were powerfully
transformative.<span style="mso-spacerun: yes;"> </span>Jacek was the artistic
director of the majority of the projects I took part in.<span style="mso-spacerun: yes;"> </span>I was a boy just setting out on a path of
artistic development and theatrical work.<span style="mso-spacerun: yes;">
</span>Together with his team, Jacek showed me ways of intense and profound
research and investigation, and a practical experience of creative processes
through psycho-physical activities and group activities, which transgressed
stereotypes of what is known, and transcended the limits of our own
possibilities. </span></div>
<div style="line-height: 115%;">
<span style="font-family: "arial";"></span> </div>
<span style="font-family: "times new roman";">
</span><br />
<div style="line-height: 115%;">
<span lang="PL" style="font-family: "arial"; mso-ansi-language: PL;">Jacek Zuzanski, December 2014 (trans. J. Kumiega, J. Zuzanski, S. Gardecka
& P. Gardecki).<o:p></o:p></span></div>
<span style="font-family: "times new roman";">
</span></span><br />Dream Tale Puppetshttp://www.blogger.com/profile/04883241477889443041noreply@blogger.com0tag:blogger.com,1999:blog-445304421227054473.post-47659099524467603552016-01-04T18:32:00.000-08:002016-01-04T20:57:27.923-08:00From the Archive of TEART Association - The Programme of Theatrical Actions<br />
<span style="color: black; font-family: Arial, Helvetica, sans-serif;">
Before arriving in the <st1:country-region><st1:place>US</st1:place></st1:country-region>
in 2001 from my native <st1:country-region><st1:place>Poland</st1:place></st1:country-region>,
I was leading the theatrical Association TEART, where we produced and carried
out a variety of theatrical projects. Below I am pasting the archival text
written in 2000 which briefly summarizes the activities. Thank you to Michal Jezierski and MaryBall Opie for the translation.<br />There are some
parallels between how TEART was developed and how 15 years later we are
developing Dream Tale Puppets. In both cases a group of artists develops and creates
unique theatrical projects, working at the same time on carving out its own
place in society, gaining community support and recognition of the value of its
work.</span><br />
<span style="color: black; font-family: Arial, Helvetica, sans-serif;"> </span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;"><span style="font-family: Arial, Helvetica, sans-serif;">Of course, there are a lot of differences, but many creative
approaches and methods that I developed with my actors and partners in <st1:country-region><st1:place>Poland</st1:place></st1:country-region>
remain in my toolbox. Some of these methods and approaches we will be using and
referring to in Dream Tale Puppets’ current production of “<st1:city><st1:place>Alice</st1:place></st1:city>’s
Wonderlands”.<o:p></o:p></span></span></div>
<span style="color: black; font-family: Arial, Helvetica, sans-serif;">
</span><br />
<div class="MsoBodyTextIndent" style="margin: 0in 0in 0pt;">
<span lang="EN-GB"><strong><span style="color: black; font-family: Arial, Helvetica, sans-serif;">TEART
ASSOCIATION - THE PROGRAMME OF THEATRICAL ACTIONS</span></strong></span></div>
<div class="MsoBodyTextIndent" style="margin: 0in 0in 0pt;">
<span lang="EN-GB"><strong></strong></span><span style="color: black; font-family: Arial, Helvetica, sans-serif;"> </span></div>
<div class="MsoBodyText3" style="margin: 0in 0in 6pt;">
<span style="color: black;"><span style="font-family: Arial, Helvetica, sans-serif;">The Association was
created in <st1:city><st1:place>Wrocław</st1:place></st1:city> in February 1995.<span style="mso-spacerun: yes;">
</span>It develops the activities of Jacek Zuzański's earlier Theatrical
Actions Group. In the actions of TEART,
theatre constitutes the axle around which the active participation-oriented
undertakings revolve. Some projects focused on
studying the techniques of acting, are closed to the audiences and serve to
develop the creative potential of the participants. Other projects aim at
realising actions open to the public. Always--whether it is a small, short
project for few people, or a long, big project combining the work of several
workshop groups as well as the actors from TEART, musicians and co-operating
guest artists-- it is the meeting and what results from attentive being<span style="color: #ff3333;"> </span>together and common creation that matter<span style="color: #ff3333;"> </span><span style="color: black;">most.</span></span></span></div>
<div class="MsoBodyText3" style="margin: 0in 0in 6pt;">
<span style="color: black; font-family: Arial, Helvetica, sans-serif;">After five years, we have
noticed that three fields of activity of the artists associated with TEART have
developed:</span></div>
<ol><span style="font-family: Arial, Helvetica, sans-serif;">
</span>
<li><span style="color: black; font-family: Arial, Helvetica, sans-serif;">youth-addressed theatrical workshop projects;</span></li>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span>
<li><span style="color: black; font-family: Arial, Helvetica, sans-serif;">international projects; </span></li>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span>
<li><span style="color: black; font-family: Arial, Helvetica, sans-serif;">neglected court yards programmes combining workshops, visual actions and presentations addressed to children living in socially/ economically disadvantaged environments.</span></li>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span></ol>
<div class="MsoNormal" style="margin: 0in 0in 6pt;">
<span style="color: black; font-family: Arial, Helvetica, sans-serif;">There are also projects that
combine all of the fields of activity mentioned above</span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt;">
<span style="color: black;"></span><span style="font-family: Arial, Helvetica, sans-serif;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt;">
<span lang="EN-GB"><span style="color: black; font-family: Arial, Helvetica, sans-serif;">THEATRICAL WORKSHOPS </span></span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt;">
<span style="color: black; font-family: Arial, Helvetica, sans-serif;">Theatrical workshops are
addressed to people interested in getting to know and develop their creative
potential, to those who are curious about the mysteries of the actor's work,
and to those who through theatrical experience want to familiarise themselves
with the methods of developing their own personality, both its deeply hidden
nature and its outlet for self-expression. They can be valuable for everybody
to whom working with people and being creative within the group are important.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt;">
<span style="color: black; font-family: Arial, Helvetica, sans-serif;">The training in
elementary acting skills constitutes the foundation. It consists of exercises
on expression and co-ordination of movement, rhythm and music-based exercises,
as well as those aimed at getting to know the elements of acrobatics and
pantomime. Some parts of the classes concentrate on voice exercises and the
clarity of enunciation, on work with a text and a song; others teach attention,
introduce the principles of work with a partner and the means of working within
a group. They allow for exercising concentration skills, shape sensitivity and
imagination, teach how to awake the creative processes of internal life, how to
handle the form of action and how to trust one's own nature.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt;">
<span style="color: black; font-family: Arial, Helvetica, sans-serif;">Subsequent
meetings combine training exercises with creative tasks. As the training
progresses, work transforms into rehearsals that are completed by sessions
shaping the skills needed for the realisation of projects, and is aimed at
maintaining the correct dynamics of the group and creative processes.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt;">
<span style="color: black; font-family: Arial, Helvetica, sans-serif;">We deal with
the forms of theatre of physical expression built on excerpts from literature
montaged into a collage. We work with poetry and prose, with forms based on the
elements of song and music, with the convention of visual theatre, the use of
masks and puppets as well as with the forms based on drama. We combine literary
forms with music and fine art, narration with dialogue. We use both the methods
of training the actors know from traditional education as well as those used by
alternative theatres. We also benefit from our own techniques that we have
worked out over the years. The workshops are carried out on a regular on-going
basis or in projects of several days' or weeks' duration during which the
participants and the workshop's leaders prepare theatrical realisations usually
presented to the public at the finale of the project.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt;">
<span lang="EN-GB"><span style="color: black;"></span></span><span style="font-family: Arial, Helvetica, sans-serif;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt;">
<span lang="EN-GB"><span style="color: black; font-family: Arial, Helvetica, sans-serif;">INTERNATIONAL PROJECTS</span></span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt;">
<span style="color: black; font-family: Arial, Helvetica, sans-serif;">With the cooperation of The
International Youths Meeting Centre in <st1:city><st1:place>Wrocław</st1:place></st1:city>
and similar centres in <st1:city><st1:place>Oświecim</st1:place></st1:city> and
Krzyżowa, as well as with the foreign partners, we have organised workshops for
international groups.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt;">
<span style="color: black; font-family: Arial, Helvetica, sans-serif;">Young actors, teachers, students
from <st1:country-region><st1:place>Belarus</st1:place></st1:country-region>, <st1:country-region><st1:place>Lithuania</st1:place></st1:country-region>,
<st1:country-region><st1:place>Germany</st1:place></st1:country-region>, <st1:country-region><st1:place>Poland</st1:place></st1:country-region>,
the <st1:country-region><st1:place>United States</st1:place></st1:country-region>
and <st1:country-region><st1:place>Ukraine</st1:place></st1:country-region>
participated in these undertakings. Some projects were closed to the audiences
and creative processes aimed at the experience of the participants, others
finished with theatrical presentations to the public.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt;">
<span style="color: black; font-family: Arial, Helvetica, sans-serif;">The principle of dialogue and
experience is the key for this methodology. The outcome does not consist in
performing the dramatic text; it consists<i style="mso-bidi-font-style: normal;"><span style="color: green;"> </span></i>in the result of the creative processes.
Usually the work is conducted in a few international groups. Each of the
leaders within these groups employs a method of training and creation that is
typical of his approach.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt;">
<span style="color: black; font-family: Arial, Helvetica, sans-serif;">The actions prepared within the
groups constitute the material for common creation. The spectacles are created
from etudes, actors' actions, improvisation, songs, dances, visual objects and
puppet animations that were prepared within groups. Sometimes the workshop
groups are supported by invited professional artists.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt;">
<span style="color: black; font-family: Arial, Helvetica, sans-serif;">Tasks and exercises are carried
out by the participants individually, in smaller or bigger teams and
altogether, allowing everybody to find many ways of perceiving and experiencing
oneself and others, promoting communication and creation through theatrical
action.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt;">
<span style="color: black; font-family: Arial, Helvetica, sans-serif;">Theatrical methods of work
developing sensitivity, the ways of expressing oneself through word, sound,
music, and movement as well as the subjects referring to essential spheres of
values make this collective, deep experience possible.<span style="mso-spacerun: yes;"> </span>Training in acting as well as the theatrical
creative process provides many opportunities for developing self-knowledge and
self-awareness as well as getting to know partners, and the breaks between the
classes allow for spending time together more informally as well as developing
new friendships.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt;">
<span style="color: black;"><span style="font-family: Arial, Helvetica, sans-serif;">Difficult tasks are carried out
together, requiring accepting acceptance of mutual differences. Showing the
effects of the work to the public demonstrates the ability to communicate
through various theatre techniques despite cultural differences and barriers of
spoken language.<o:p></o:p></span></span></div>
<span style="color: black; font-family: Arial, Helvetica, sans-serif;">
</span><br />
<div class="MsoNormal" style="margin: 0in 0in 6pt;">
<span lang="EN-GB"><span style="color: black; font-family: Arial, Helvetica, sans-serif;">NEGLECTED COURTYARDS </span></span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt;">
<span style="color: black; font-family: Arial, Helvetica, sans-serif;">Since November 1996, TEART
carries out the programme SPELLS at the <st1:city><st1:place>Wroclaw</st1:place></st1:city>
neglected courtyards addressed to children living in their area.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt;">
<span style="color: black; font-family: Arial, Helvetica, sans-serif;">Basically<span style="color: blue;">, </span>this programme consists of cycles of actions of several days'
duration, each of which aims at getting to know a given environment through
creative workshops with children, small visual arts activities and
presentations that lead to the final outdoor spectacle combining prepared
actions. Each cycle begins with meeting the children at the courtyards, schools
or day-care centres and playing with them. During these meetings, the animators
talk to children about theatre and invite them to participate in workshops.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt;">
<span style="color: black; font-family: Arial, Helvetica, sans-serif;">Workshops are conducted by
actors, sculptors, painters, musicians. Children learn to design and build
puppets; they make sets, prepare etudes, improvise, rehearse scenes and songs
for the upcoming performance.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt;">
<span style="color: black; font-family: Arial, Helvetica, sans-serif;">Work is conducted within two or
three days in two or three groups of ten to fifteen children. On the day
preceding the presentation of outdoor actions on a given courtyard or in its
vicinity, there is a parade in which children participate offering handouts and
invitations.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt;">
<span style="color: black; font-family: Arial, Helvetica, sans-serif;">This work aims
at creating courtyard celebrations animated by theatrical actions.<span style="mso-spacerun: yes;"> </span>The tale brought to life and its language of
metaphors meet with concrete reality, its dark and light aspects. Presentation
of the spectacle constitutes the central event, in which the children take part
along with the TEART's actors and invited artists. Visual elements of the show
are also prepared by the children.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt;">
<span style="color: black; font-family: Arial, Helvetica, sans-serif;">Methodology
principle in "Spells" consists in treating children as partners. The
meeting of a group of grownups with children and their work on a common task
together is essential.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt;">
<span style="color: black; font-family: Arial, Helvetica, sans-serif;">In the year
2000, we started "Our Make-Believe Lands Programme". It comprises
four courtyards, takes place over a period of several weeks and includes the
work of a team of actors-animators with children from courtyards.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt;">
<span style="color: black; font-family: Arial, Helvetica, sans-serif;">The presupposed
goal of this work will consist of the “Our Make-Believe Lands Festival,” which
will be prepared by the children.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt;">
<span style="color: black;"></span><span style="font-family: Arial, Helvetica, sans-serif;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt;">
<span style="color: black;"><span style="font-family: Arial, Helvetica, sans-serif;"><st1:city><st1:place>Wroclaw</st1:place></st1:city>, 2000<o:p></o:p></span></span></div>
<span style="color: black; font-family: Arial, Helvetica, sans-serif;">
</span><br />
<div class="MsoNormal" style="background: white; margin: 0in 0in 6pt;">
<o:p><span style="color: black; font-family: Arial, Helvetica, sans-serif;"> </span></o:p></div>
<span style="color: black;">
</span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p><span style="color: black;"> </span></o:p></div>
<span style="color: black;">
</span>Dream Tale Puppetshttp://www.blogger.com/profile/04883241477889443041noreply@blogger.com0tag:blogger.com,1999:blog-445304421227054473.post-56879006046490426572015-11-23T08:22:00.002-08:002015-12-01T15:47:20.157-08:00Getting Ready for the Discussion on “Child’s Play”<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span class="ecxs31"><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;">The 63rd National Puppetry Festival of the
Puppeteers of America at the University of Connecticut on August 10-16, 2015
offered its participants the series of critical discussions, “Critical
Exchange.”<span style="mso-spacerun: yes;"> </span>I had the<span style="mso-spacerun: yes;"> </span>privilege to be a panelist for the discussion
on the state of puppetry for children called “Child’s Play.”<span style="mso-spacerun: yes;"> </span>Before we met, our moderator had sent us an
e-mail with a few questions and the suggestion that we exchange ideas to warm
up before the meeting. This inspired me to record some thoughts. </span></span></div>
<span style="color: black;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span class="ecxs31"><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;">I would like to share them here.<span style="mso-spacerun: yes;"> </span>I made some cuts and edits to the letter I
sent to my co-panelist, and I asked two of my friends to give this text
editorial attention.<span style="mso-spacerun: yes;"> </span>I am grateful to
Margaret Moody and MaryBall Opie.</span></span></div>
<span style="color: black;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span class="ecxs31"><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;">The discussion was introduced in the program
by this short paragraph: </span></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span class="ecxs31"><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;">“In the United States and many other
countries around the world,<span style="mso-spacerun: yes;"> </span>puppetry has
primarilly been seen as an art form addressing children. But how does it
address them? What possibilities exist for children’s puppetry that have yet to
me mined?”</span></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span class="ecxs31"><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;"></span></span><span style="color: black;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span class="ecxs31"><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;">And now the sketch of my thoughts.</span></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span class="ecxs31"><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;"></span></span><span style="color: black;"> </span></div>
<div class="ecxs41" style="margin: 0in 19.45pt 0pt 0in;">
<span class="ecxs31"><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;">LESSER FORM</span></span></div>
<div class="ecxs41" style="margin: 0in 19.45pt 0pt 0in;">
<span class="ecxs31"><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;">I was motivated to
sign up for our discussion in large part by the
popular American view that puppet theatre for children
is a lesser art form. <span style="mso-spacerun: yes;">
</span>Children are defenseless against bad art.<span style="mso-spacerun: yes;"> </span>They want to like what parents or
teachers want them to like, and when parents or teachers
take them to see a poorly made show they may enjoy and applaud
it despite its inferior quality.<span style="mso-spacerun: yes;">
</span>Nonetheless, we have many examples of the most amazing
puppetry created for children, just as we have fine art, music,
literature, and theatre for children of the highest artistic
standards." There is not much sense in doing or aiming
toward something lesser when working for children. To approach the
work for children with agreement on producing shows<span style="mso-spacerun: yes;"> </span>of condescending mediocrity would be
self-destructive and degrading for an artist.</span></span></div>
<div class="ecxs41" style="margin: 0in 19.45pt 0pt 0in;">
<span class="ecxs31"><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;"></span></span><span style="color: black;"> </span></div>
<div class="ecxs41" style="margin: 0in 19.45pt 0pt 0in;">
<span class="ecxs31"><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;">WHAT POSSIBILITIES EXIST FOR CHILDREN’S PUPPETRY THAT
HAVE YET TO BE MINED?</span></span><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;"><o:p></o:p></span></div>
<span class="ecxs31"><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;">All possibilities, those well known and those yet to
be discovered need to be mined </span></span><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;"><o:p></o:p></span><br />
<span class="ecxs31"><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;"></span></span><br />
<span class="ecxs31"><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;">PRACTICAL POSSIBILITIES IN MY NATIVE POLAND</span></span><br />
<span class="ecxs31"><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;"><span style="color: black;">This is so different in U.S. than in my native
Poland.<span style="mso-spacerun: yes;"> </span>In Poland,
well-supported, mostly municipal, puppet theaters, most of them with their
own buildings and ensembles of<o:p></o:p></span></span></span><br />
<span style="color: black;"></span><br />
<div class="ecxs41" style="margin: 0in 19.45pt 0pt 0in;">
<span class="ecxs31"><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;">20 to 70 highly skilled artists,
administrators, managers and technicians serve children in schools on
a daily basis and the general public on weekends. They have actor
puppeteers, director puppeteers, artists designing and artists building
puppets, and other separate categories of professionals such as carpenters, set
builders, seamstresses and specialist in papier-mâché, so I guess the
productions look a little more like those on Broadway. In
Poland,<span style="mso-spacerun: yes;"> </span>puppeteers are actors.<span style="mso-spacerun: yes;"> </span>When they get their jobs in the theatre they
are often set for life. There is not much reason there to ask questions
about practical possibilities. They are mostly there, in these well-supported
institutions.<span style="mso-spacerun: yes;"> </span>Artists can focus on
exploring artistic possibilities instead of trying to figure out where, with
whom, and in what kind of circumstances to do what they want to
do.<span style="mso-spacerun: yes;"> </span>Public recognition of the value
of puppetry for children is strong.</span></span></div>
<div class="ecxs41" style="margin: 0in 19.45pt 0pt 0in;">
<span class="ecxs31"><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;"></span></span><span style="color: black;"> </span></div>
<div class="ecxs41" style="margin: 0in 0in 0pt;">
<span class="ecxs31"><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;">FIGURING
OUT</span></span></div>
<div class="ecxs41" style="margin: 0in 0in 0pt;">
<span class="ecxs31"><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;">In the United
States, a puppeteer is a very different artist
than in my native Poland where I grew up, was
educated, and spent 20 years of my professional career.<span style="mso-spacerun: yes;"> </span>In the U.S.,<span style="mso-spacerun: yes;">
</span>a puppeteer has to figure out how to be a puppeteer.<span style="mso-spacerun: yes;"> </span>Here we are often artists, designers,
builders, directors, performers, managers, administrators, marketing
specialists and technicians. We have to find or create our own place in
the universe. American reality is much more flexible, maybe
much more challenging, but also more open to our new ideas.<span style="mso-spacerun: yes;"> </span>A single prevailing national standard for
practicing puppetry does not exist.<span style="mso-spacerun: yes;"> </span>Each
of us has to carve his or her place in a fast-changing reality.<span style="mso-spacerun: yes;"> </span>We seek practical opportunities;<span style="mso-spacerun: yes;"> </span>in parallel we explore artistic
possibilities.<span style="mso-spacerun: yes;"> </span>The practical conditions
we confront<span style="mso-spacerun: yes;"> </span>often influence theatrical
language and artistic choices in our work.</span></span></div>
<div class="ecxs41" style="margin: 0in 0in 0pt;">
<span class="ecxs31"><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;"></span></span><span style="color: black;"> </span></div>
<div class="ecxs41" style="margin: 0in 0in 0pt;">
<span class="ecxs31"><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;">Each of
our new projects and productions brings an opportunity for searching for our
place, and seeking new practical and artistic possibilities.</span></span></div>
<div class="ecxs41" style="margin: 0in 0in 0pt;">
<span class="ecxs31"><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;"></span></span><span style="color: black;"> </span></div>
<div class="ecxs41" style="margin: 0in 0in 0pt;">
<span style="color: black;"><span class="ecxs31"><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;">I<span style="mso-spacerun: yes;"> </span>could only speak about puppetry as a
theatrical form, but of course American puppeteers work also </span><span style="color: black;">in settings other than theatre</span></span><span class="ecxs31"><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;">, among them in film and television.</span></span></span></div>
<div class="ecxs41" style="margin: 0in 0in 0pt;">
<span class="ecxs31"><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;"></span></span><span style="color: black;"> </span></div>
<div class="ecxs41" style="background: white; margin: 0in 19.45pt 0pt 0in;">
<span class="ecxs31"><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;">COMMON POSSIBILITIES AND PRESENTING THEATRES </span></span></div>
<div class="ecxs41" style="background: white; margin: 0in 19.45pt 0pt 0in;">
<span class="ecxs31"><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;"></span></span><span class="ecxs31"><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;"><span style="color: black;">With Dream Tale Puppets, which I founded on Cape Cod
10 years ago, we, like many American puppeteers, perform for libraries, art
and cultural centers, schools, after school programs, fundraisers and
parties.<u> </u></span></span></span></div>
<div class="ecxs41" style="background: white; margin: 0in 19.45pt 0pt 0in;">
<span class="ecxs31"><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;"></span></span><span style="color: black;"> </span></div>
<div class="ecxs41" style="background: white; margin: 0in 19.45pt 0pt 0in;">
<span class="ecxs31"><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;"></span></span><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;">We are
fortunate in Massachusetts to have Puppet Showplace in Brookline. I am inspired
by my friend and performing partner Margaret Moody,<span style="mso-spacerun: yes;"> </span>and by Liz Joyce, founder
of Goat on the Boat Theater.<span style="mso-spacerun: yes;">
</span>Margaret organizes a puppetry series each year and
invites others to perform. Goat on the Boat presents shows
all year long.<span style="mso-spacerun: yes;"> </span>Dream Tale
Puppets presents other performers on the Cape during summer.<span style="mso-spacerun: yes;"> </span>We call our summer series Cape Cod Puppet
Gam. </span></div>
<div class="ecxs41" style="background: white; margin: 0in 19.45pt 0pt 0in;">
<span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;"></span><span style="color: black;"> </span></div>
<div class="ecxs41" style="background: white; margin: 0in 19.45pt 0pt 0in;">
<span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;"></span><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;">SCHOOLS AND
AFTER SCHOOL PROGRAMS</span></div>
<div class="ecxs41" style="background: white; margin: 0in 19.45pt 0pt 0in;">
<span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;">The most
natural audience of puppet theatre in Poland – schools - is
not one which works well in Massachusetts. Dream Tale
Puppets performs very little in schools.</span></div>
<div class="ecxs41" style="background: white; margin: 0in 19.45pt 0pt 0in;">
<span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;"></span><span style="color: black;"> </span></div>
<div class="ecxs41" style="background: white; margin: 0in 19.45pt 0pt 0in;">
<span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;"></span><span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;">I do workshops
and often work as a teacher using a variety of forms of
puppet theatre. Often I conduct after-school
or vacation projects. Dream Tale Puppets is listed on the
performers and teaching artists’ roster of Hartford Performs – an organization devoted
to bringing arts to Hartford Schools.<span style="mso-spacerun: yes;">
</span>From contact with them, I've learned that schools are more
interested in artists working with children and supporting curriculum than
in supporting work of the artists for art's sake.<span style="mso-spacerun: yes;"> </span>They want artists to help teachers.<span style="mso-spacerun: yes;"> </span>They are less interested in teachers helping
artists who are seeking to achieve artistic goals.</span></div>
<div class="ecxs41" style="background: white; margin: 0in 19.45pt 0pt 0in;">
<span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;"></span><span style="color: black;"> </span></div>
<div style="margin-bottom: 0pt;">
<span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;">On Cape
Cod,<span style="mso-spacerun: yes;"> </span>theatrical workshops as an
after-school activity organized by schools, cultural centers, and after school
programs exist side by side with community theatre productions which involve
children as actors and which are addressed to family audences. Community
theaters sometimes use puppets in productions. <span style="mso-spacerun: yes;"> </span>A similar project<span style="mso-spacerun: yes;"> </span>model staffed in part by
professionals and in part open to volunteers and
children is used by Peter
Schumann, Missoula Children’s Theatre, Sara Peattie and The
Puppeteers' Cooperative and, I believe, many other puppeteers.</span></div>
<div style="margin-bottom: 0pt;">
<span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;"></span><span style="color: black;"> </span></div>
<div style="margin-bottom: 0pt;">
<span lang="EN" style="color: black; font-family: "segoe ui"; mso-ansi-language: EN;"></span><span style="color: black; font-family: "segoe ui";">OTHER PRACTICAL POSSIBILIITES</span></div>
<div style="margin-bottom: 0pt;">
<span style="font-family: "segoe ui";"></span><span style="color: black; font-family: "segoe ui";">In performing in or for schools
puppet theatre <span style="color: black;">meets with education. But in seeking practical possibilities we
could also explore areas where theatre meets other societal realities, where we
serve additional purposes and border with other areas of life.</span></span></div>
<div style="margin-bottom: 0pt;">
<span style="font-family: "segoe ui";"></span><span style="color: black;"> </span></div>
<div style="margin-bottom: 0pt;">
<span style="font-family: "segoe ui";"></span><span style="color: black;"><span style="font-family: "segoe ui";">Some puppeteers incorporate
puppetry in social therapy and work with disadvantaged communities, inner city
children and youth. I worked with inner city children and communities in </span><st1:country-region><st1:place><span style="font-family: "segoe ui";">Poland</span></st1:place></st1:country-region><span style="font-family: "segoe ui";">.</span></span></div>
<div style="margin-bottom: 0pt;">
<span style="font-family: "segoe ui";"></span><span style="color: black;"> </span></div>
<div style="margin-bottom: 0pt;">
<span style="font-family: "segoe ui";"></span><span style="color: black; font-family: "segoe ui";">THEATRE AND COMMUNITY AND
THEATRE AS A COMMUNITY </span></div>
<div style="margin-bottom: 0pt;">
<span style="color: black; font-family: "segoe ui";"><span style="color: black;">I view the theatre more as a
group and community of artists creating the culture and more particularly theatrical
culture than just shows. If such a group has its locale, a home base, this kind
of theatre would be operating as a culture center with many programs addressed
to various audiences and constituencies. Programs for children and families
could be developed simultaneously, in parallel or alternately to programs</span> for
or with youth and more mature audiences and participants; also programs,
events, celebrations for bigger community where separation between children and
adults loses its meaning could be created.<span style="mso-spacerun: yes;">
</span>Since a work of this nature would require support from many sources,
such a theatre would need to be developed with strong connections in the local
community and organizations with similar values and beliefs.</span></div>
<div style="margin-bottom: 0pt;">
<span style="font-family: "segoe ui";"></span><span style="color: black;"> </span></div>
<div style="margin-bottom: 0pt;">
<span style="font-family: "segoe ui";"></span><span style="color: black; font-family: "segoe ui";">The puppet theatre center
supported by its local community could serve as a venue for developing its own
programs, and as a presenting organization, a hub for collaborations,
explorations, education, center of work with children, youth, adults, lovers of
the art and professionals. I believe that this way we could serve our
communities, help each other, and strengthen our puppetry community and its
place in the broader community and culture. We are saving the world with each
little step of goodness, and as artists we have powers and missions very different
from military units or a national education system. In developing Dream Tale
Puppets, we are working with the vision of theatre as a community and center of
creativity in mind.</span></div>
<div style="margin-bottom: 0pt;">
<span style="font-family: "segoe ui";"></span><span style="color: black;"> </span></div>
<div class="MsoNormal" style="background: white; line-height: 14.25pt; margin: 0in 0in 0pt; vertical-align: baseline;">
<span style="color: black; font-family: "segoe ui";">DOES THE IDENTIFICATION AS
“CHILDREN’S FARE” NECESSARILY LIMIT OR DIRECT THE TYPES OF SHOWS THAT CAN BE
PRODUCED? </span></div>
<div class="MsoNormal" style="background: white; line-height: 14.25pt; margin: 0in 0in 0pt; vertical-align: baseline;">
<span style="font-family: "segoe ui";"></span><span style="color: black; font-family: "segoe ui";">Every
choice we make directs our actions.<span style="mso-spacerun: yes;"> </span>Each
age of the children may be addressed with a very different style of the shows.
A few years ago, I saw the video recording of shows for very little babies up
to one year old. They were masterpieces. There was very little spoken language,
but amazing visual forms with a lot of dramaturgy in motion, action, shapes,
and colors. There was not a trace of condescending paternalism in actors’
actions; instead they employed rich and elegant aesthetic enjoyable for babies
and satisfying for adults.</span></div>
<div class="MsoNormal" style="background: white; line-height: 14.25pt; margin: 0in 0in 0pt; vertical-align: baseline;">
<span style="font-family: "segoe ui";"></span><span style="color: black;"> </span></div>
<div class="MsoNormal" style="background: white; line-height: 14.25pt; margin: 0in 0in 0pt; vertical-align: baseline;">
<span style="font-family: "segoe ui";"></span><span style="color: black; font-family: "segoe ui";">For me, ideally a show
would be addressed to any age, which means it would have to be comprised of
many layers to be appealing to diverse spectators. When I work on a show,
thinking about the age of the children I am creating for is not the first thing
I do.<span style="mso-spacerun: yes;"> </span>I think more about how I shape the
process. Asking about “how” brings a style. Material used, field of
pre-production studies and research determine this also. If I use a fairy tale
or a text by a particular author who writes for children as a jumping board, as
inspiration, or material for adaptation, this points to possible directions the
work may take. I look for the interesting literary material, compelling fields
of research, and an enjoyable and inspiring company of artists of notable
talents, abilities and passion. The production process may lead toward the show
addressed toward a more or less age-specific audience.</span></div>
<div class="MsoNormal" style="background: white; line-height: 14.25pt; margin: 0in 0in 0pt; vertical-align: baseline;">
<span style="font-family: "segoe ui";"></span><span style="color: black;"> </span></div>
<div class="MsoNormal" style="background: white; line-height: 14.25pt; margin: 0in 0in 0pt; vertical-align: baseline;">
<span style="font-family: "segoe ui";"></span><span style="color: black; font-family: "segoe ui";">Usually I don’t know in
advance what kind of show I will produce. I don’t limit myself. My work for
children is like a dialog with the child, also with my own inner child. Do we
limit ourselves when we speak with the child? Do we limit ourselves speaking
with anyone? We listen to the person we talk to and with, and we try to find,
or we are open for the words which will have substance for our listener. The
process of finding words is to some extent automatic, or perhaps it would
better to say spontaneous.<span style="mso-spacerun: yes;"> </span>We see or
imagine a person and the language emerges. We see how she reacts to our words,
we re-imagine who she is and the process, and the dialog continues. This occurs
through listening to our interlocutor and letting our voices emerge as we
create. I wouldn’t call it limiting. I could say that my listener in some way
directs my talk. The language emerges between us. </span></div>
<div class="MsoNormal" style="background: white; line-height: 14.25pt; margin: 0in 0in 0pt; vertical-align: baseline;">
<span style="font-family: "segoe ui";"></span><span style="color: black;"> </span></div>
<div class="MsoNormal" style="background: white; line-height: 14.25pt; margin: 0in 0in 0pt; vertical-align: baseline;">
<span style="font-family: "segoe ui";"></span><span style="color: black;"><span style="font-family: "segoe ui";">I shape the language of
theatrical expression to be interesting and to command attention. I don’t have
lessons to give. I share with my audience my own joy in digging into the
material, story, stirring sources of inspiration, asking questions and shaping
the pictures, actions, characters, rhythms, and language. I create the universe
which is often </span><span style="font-family: "segoe ui";">multi-layered, with a number of characters,
each with its own life, opinions and motives for actions. I create texture,
colors and architecture of the environment. Elements of the production have
their sources of inspiration, and they derive their forms from meetings,
conversations, reading, seeing, and listening. The show comes into being molded
from elements and universes, and is open to audience interpretation. Song,
picture, poem and puppet show could provide experience and opportunities to
associate, understand and feel, and to expand understanding and the ability to
associate and to feel.</span></span></div>
<div class="MsoNormal" style="background: white; line-height: 14.25pt; margin: 0in 0in 0pt; vertical-align: baseline;">
<span style="font-family: "segoe ui";"></span><span style="color: black;"> </span></div>
<div class="MsoNormal" style="background: white; line-height: 14.25pt; margin: 0in 0in 0pt; vertical-align: baseline;">
<span style="font-family: "segoe ui";"></span><span style="color: black; font-family: "segoe ui";">Jack Zipes in “Fairy
Tales and Art of Subversion” writes about how fairy tales were and are still
used to educate, to socialize, and to program socially desirable children’s
behavior. I am far from considering myself an educator whose mission is to
teach children proper manners. I consider myself rather someone who brings to
children language, questions, rhythms, shapes, colors, elements of narration,
characters and their stories, as well as my own and my colleagues joy in
explorations and orchestration of theatrical universe. </span></div>
<div class="MsoNormal" style="background: white; line-height: 14.25pt; margin: 0in 0in 0pt; vertical-align: baseline;">
<span style="font-family: "segoe ui";"></span><span style="color: black;"> </span></div>
<div class="MsoNormal" style="background: white; line-height: 14.25pt; margin: 0in 0in 0pt; vertical-align: baseline;">
<span style="font-family: "segoe ui";"></span><span style="color: black; font-family: "segoe ui";">I don’t care if my
audience is not able to read, see, and decipher all I put into the show. The
show is rich because only this kind of work could provide an opportunity to
share the passion and curiosity that I have. I am saying rich, <span style="color: black;">but this does
not mean complicated or overloaded.<span style="mso-spacerun: yes;">
</span>Intensive research could lead to elegant, but simple effects. A lot of
stuff is thrown away just as a writer throws away words, pages, paragraphs, or
chapters of an earlier draft that are not needed.<span style="mso-spacerun: yes;"> </span>Also, the richness of theatrical language
could be understood by an analogy to poetry. Poetry and children’s rhymes are
also good examples of this understanding. Many children’s rhymes deal with the
richness of language beyond its semantic level of literal meaning. Rhymes speak
through their sonorous, musical, rhythmic, melodic, and associative levels of
expression, all of which address the senses and mind.</span></span></div>
<div class="MsoNormal" style="background: white; line-height: 14.25pt; margin: 0in 0in 0pt; vertical-align: baseline;">
<span style="font-family: "segoe ui";"></span><span style="color: black;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black; font-family: "segoe ui";">WHAT KINDS OF EXCHANGES
MIGHT EXIST OR BE CREATED BETWEEN CHILDREN’S SHOWS AND THOSE FOR MORE MATURE
AUDIENCES, AND HOW MIGHT CROSS-FERTILIZATIONS BETWEEN THEM WORK TO ENRICH THE
ART AT BOTH ENDS OR BRING THEM TOGETHER?</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black; font-family: "segoe ui";">To bring puppetry for
children and adults together we have to have time and space for togetherness,
even if this would be metaphorical togetherness.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="font-family: "segoe ui";"></span><span style="color: black;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black; font-family: "segoe ui";"><span style="color: black;">We may need space of
shared aesthetic and methodological</span> explorations, shared communal space where
children and more mature audiences meet. This concept of shared communal space
is pretty easy to grasp.<span style="mso-spacerun: yes;"> </span>Considering
that children when not in school are usually with parents or guardians, this
sharing is unavoidable.<span style="mso-spacerun: yes;"> </span>I think we can’t
ignore that parents and grandparents are part of the audience. They should
enjoy the show as well.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="font-family: "segoe ui";"></span><span style="color: black;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="font-family: "segoe ui";"></span><span style="color: black;"><span style="font-family: "segoe ui";">In my native </span><st1:country-region><st1:place><span style="font-family: "segoe ui";">Poland</span></st1:place></st1:country-region><span style="font-family: "segoe ui";">, puppet theatre serves mostly children, but
many theatres also produce shows for mature audiences. I would say that
children’s audiences support to some extent productions for adults. I mean that
theatres are established and secure in their work thanks to their mission of
serving children. Ensembles are created. They could practice and polish their
mastery in working for children. This potential could and is employed in
producing shows for adults.</span></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="font-family: "segoe ui";"></span><span style="color: black;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="font-family: "segoe ui";"></span><span style="color: black; font-family: "segoe ui";">When you work on how,
on the language, methodology, aesthetics, your discoveries in this field for
children could inspire and inform work for mature audiences. Similarly
techniques used in puppet theatre for mature audiences could be used in
creating performances for children. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="font-family: "segoe ui";"></span><span style="color: black;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="font-family: "segoe ui";"></span><span style="color: black; font-family: "segoe ui";">We work in visual
arts.<span style="mso-spacerun: yes;"> </span>The broad scope of this art is
universally appealing to adults and to children. The puppeteer as an actor
could be compared to a dancer. Watching a dance, watching a circus act brings
satisfaction to a child as much as to an adult. It is the beauty of the form
and extraordinary skill of the performer which attract.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="font-family: "segoe ui";"></span><span style="color: black;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="font-family: "segoe ui";"></span><span style="color: black; font-family: "segoe ui";">Most traditional and
many contemporary puppet theaters are not interested in making the relationship
between puppeteer and puppet a part of the theatrical expression. Whether an
artist decides to take this aspect of puppetry into consideration or not, this
relationship exists and could be and very often is of significance as a part of
the expression. When we acknowledge this relationship as having expressive
potential, we are acknowledging also that the puppeteer is an actor, and his
body is also a vehicle of expression. This approach broadens the scope of
creative explorations which could be interesting for the adult spectator and
matches the natural tendency for children's affirmation of any language as long
as it is possible to decipher or project meaning into it.<span style="mso-spacerun: yes;"> </span>An aesthetically and semantically complex
theatrical act could satisfy sophisticated adult spectators as much as a child
for whom the theatrical act could represent the world analogous to that of
make-believe play.</span></div>
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<span style="font-family: "segoe ui";"></span><span style="font-family: "segoe ui";"><span style="color: black;">Dream Tale Puppets
addresses its programs to children, but we believe in developing multiple
dimensions in our work. We do workshops, and we are building relationships with
other organizations. We explore where and how we could better serve the
community by practicing our art.<o:p></o:p></span></span></div>
<span style="color: black;"></span><br />
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Dream Tale Puppetshttp://www.blogger.com/profile/04883241477889443041noreply@blogger.com0tag:blogger.com,1999:blog-445304421227054473.post-871378922402741792015-08-17T18:04:00.000-07:002015-08-17T18:15:33.715-07:00The Joy of Creating with Children: Differences in the roles of teachers and teaching artists<br />
<div class="paragraphscx121980964" style="line-height: 150%; margin: 0in 0in 12pt; vertical-align: baseline;">
<span style="color: black;">On <st1:date day="10" month="8" year="2015">August 10,
2015</st1:date> I participated in Professional Day of Teaching Artists &
Therapists at The National Puppetry Festival at the <st1:place><st1:placetype>University</st1:placetype>
of <st1:placename>Connecticut</st1:placename></st1:place>. I shared my
thoughts on the differences between an artist and teacher; I spoke a little
about my Polish theatrical education and experience; and I presented an example
of my work with children and teachers. The presentation was accompanied by
handout material that explained my thoughts in writing. Below is an unabridged
version of this text.</span></div>
<div align="right" class="paragraphscx121980964" style="margin: 0in 0in 0pt; text-align: right; vertical-align: baseline;">
<span style="color: black;"><span class="normaltextrunscx121980964"><b><i><span style="font-family: Arial; font-size: 10pt;">WORKSHOP HANDOUTS</span></i></b></span><span class="eopscx121980964"><span style="font-family: Arial; font-size: 10pt;"> </span></span></span></div>
<div align="right" class="paragraphscx121980964" style="margin: 0in 0in 0pt; text-align: right; vertical-align: baseline;">
<span style="color: black;"><span class="eopscx121980964"><span style="font-family: Arial; font-size: 10pt;"> </span></span><span class="normaltextrunscx121980964"><b><i><span style="font-family: Arial; font-size: 11pt;">Professional Day of Teaching Artists & Therapists</span></i></b></span><span class="normaltextrunscx121980964"><i><span style="font-family: Arial; font-size: 11pt;">, </span></i></span><span class="eopscx121980964"><span style="font-family: Arial; font-size: 11pt;"> </span></span></span></div>
<div align="right" class="paragraphscx121980964" style="margin: 0in 0in 0pt; text-align: right; vertical-align: baseline;">
<span style="color: black;"><span class="normaltextrunscx121980964"><i><span style="font-family: Arial; font-size: 11pt;">National Puppetry Festival, </span></i></span><span class="eopscx121980964"><span style="font-family: Arial; font-size: 11pt;"> </span></span></span></div>
<div align="right" class="paragraphscx121980964" style="margin: 0in 0in 0pt; text-align: right; vertical-align: baseline;">
<span style="color: black;"><st1:place><st1:placetype><span class="normaltextrunscx121980964"><i><span style="font-family: Arial; font-size: 11pt;">University</span></i></span></st1:placetype><span class="normaltextrunscx121980964"><i><span style="font-family: Arial; font-size: 11pt;"> of </span></i></span><st1:placename><span class="normaltextrunscx121980964"><i><span style="font-family: Arial; font-size: 11pt;">Connecticut</span></i></span></st1:placename></st1:place><span class="normaltextrunscx121980964"><i><span style="font-family: Arial; font-size: 11pt;">, </span></i></span><st1:date day="10" month="8" year="2015"><span class="normaltextrunscx121980964"><i><span style="font-family: Arial; font-size: 11pt;">August 10, 2015</span></i></span></st1:date><span class="eopscx121980964"><span style="font-family: Arial; font-size: 11pt;"> </span></span><span style="font-family: "Segoe UI"; font-size: 6pt;"><o:p></o:p></span></span></div>
<span style="color: black;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt; text-align: right;">
<b style="mso-bidi-font-weight: normal;"><span style="color: black;">The Joy of Creating
with Children: Differences in the roles of teachers and teaching artists</span></b></div>
<div align="right" class="MsoNormal" style="margin: 0in 0in 0pt; text-align: right;">
<span style="color: black;">Jacek Zuzanski </span></div>
<div align="right" class="MsoNormal" style="margin: 0in 0in 0pt; text-align: right;">
<span style="color: black;">Contact Email:
info@dreamtalepuppets.org</span></div>
<span style="color: black;"></span><br />
<div class="paragraphscx121980964" style="margin: 0in 0in 0pt; vertical-align: baseline;">
<span class="eopscx121980964"><span style="font-family: Arial; font-size: 10pt;"></span></span><span style="color: black;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">DIFERENECES BETWEEN TEACHERS AND ARTISTS</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">Let me explain how I see differences between artist and
teacher. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">A teacher teaches. She passes on her knowledge to students.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">An artist creates. She connects with the mysterious universe
of inspiration and brings a new reality into being. When working with students
she does this with them. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">A teacher and a school initiate into social norms, they both
represent order and obedience to the expectations of a society.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">An artist serves as a liaison between people and their
primordial, intuitive and instinctive source of vitality. She represents and
revitalizes the world of self which is free of societal restrictions.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">A teacher inhabits the center of society with its norms and
customs.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">An artist resides on the borders of society often contesting
its norms.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">A teacher knows. She knows facts, laws, rules, she
classifies objects and categories, and has language and names to describe
reality.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">An artist is on a perpetual quest exploring and examining
reality perceived by her senses, inner reality of the mind, and known language,
and she creates language to convey and give an expression of her explorations.</span></div>
<span style="color: black;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">Much of what I am saying here follows how mythologist Joseph
Campbell writes about these matters. Also psychology of creativity has a lot to
say about this and how important the arts are for the well being of an
individual, sanity of a society, and development of the creative faculty of the
mind.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">There is also the art teacher in schools, and of course
teachers use hands on and project development in teaching, but for the purpose
of this presentation I would like to make a strong distinction between a
teacher and artist.</span></div>
<span style="color: black;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">TWO MODELS OF COOPERATION BETWEEN TEACHERS AND ARTISTS</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">Artists and teachers can work together. Let me delineate two
models of cooperation artists and teachers working together in school.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">In the first model an artist adheres to the needs defined by
the school, educational system, teachers, curriculum standards, norms and culture
of the school. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">In second model artist is invited to the school because of
originality of the culture, world, norms and standards he or she represents by
his work, art and life. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">In first model artist could be instructed by school
authorities on procedures and may even be trained in pedagogical techniques of
controlling class dynamic or discipline. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">In second model artist’s experience in work with children,
methodologies she or he developed or lack of such an experience is recognized
and valued.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">In the first model artist serves teachers in their work with
children.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">In the second model teachers support and help the artist in
his work with children.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">At this point you may notice that these models may be seen
as complementary and that in a real situation of cooperation between artists
and teachers both approaches could and should coalesce. Sure, but it would also
be beneficial for all sides involved if teachers are aware of these models, and
of the difference between teachers and artists. <span style="mso-spacerun: yes;"> </span>They would better understand what conditions
makes artists work most enjoyable, efficient, creative, enthusiastic and
beneficial for children. Children will benefit and grow into better human
beings when they learn from great teachers and work with wonderful artists.
They have teachers in school everyday. When they meet artists they benefit from
an experience very different from this one they have with a teacher.</span></div>
<span style="color: black;"></span><br />
<span style="color: black;">WHO I AM</span><br />
<span style="color: black;"></span><br />
<span style="color: black;">I am a visual artist, puppeteer, actor, and stage director. I
am also a teacher, but when I work as a teacher I allow myself as much as
possible to be an artist. <span style="mso-spacerun: yes;"> </span>Most often I
work with children as a director. I design and conduct the creative process and
then I embody and demonstrate the application of my own creative self, and I make
possible creative dialog between myself and my young actors and collaborators.
I teach them acting skills and other skills needed in setting up a theatrical
creative process and producing a theatrical presentation, but after they
learn skills, we all launch into a creative adventure.</span><br />
<span style="color: black;"></span><br />
<span style="color: black;">I am a Pole. I grew and obtained my theatrical education and
experience in my native <st1:country-region><st1:place>Poland</st1:place></st1:country-region>,
where the education of puppeteers is very different from that in the <st1:country-region><st1:place>United
States</st1:place></st1:country-region>, and where theatrical culture--ways
theatre is practiced and present in society--are also very different. In <st1:country-region><st1:place>Poland</st1:place></st1:country-region>
two theatre academies educate actors/puppeteers and directors of puppet
performances to work in over twenty very well subsidized puppet theatres, each employing
from 20 to 70 artists, administrators and technicians. Actors/puppeteers
intensively study acting techniques of the live theatre, theatre of mask,
pantomime and a variety of puppetry techniques. All the time from the very
first days in the Institute students work in teams, they learn techniques, and
they learn how to cooperate, work with the director, and direct their
colleagues .</span><br />
<span style="color: black;"></span><br />
<span style="color: black;">I obtained my directing certificate by directing shows in Wroclaw
Puppet Theatre theatre. Early, straight after my study, I started work as a
theatre and acting teacher, but it was primarily by training my young actors
and directing shows with them that I learned to teach. One of my teachers from
the <st1:place><st1:placetype>Theatre</st1:placetype> <st1:placetype>Academy</st1:placetype></st1:place>,
Jan Dorman, whom I also assisted in his directing work in Lublin Puppet Theatre,
was particularly important and influenced the style of my directing work and
work with children.<span style="mso-spacerun: yes;"> </span>Dorman developed a unique
style of theatre using patterns, forms and rules of children’s play. Actors
were in full view of the audience when “playing” with puppets and visual
objects which were not used to physically represent characters, but rather to
signify the characters. His shows revealed the mechanics of puppet theatre and
exposed the process of creating theatrical language resembling children’s fantasy
play. This display of narrative and theatrical techniques created a rich
tapestry of associations loaded with metaphors and a wealth of poetic pictures.</span><br />
<span style="color: black;"></span><br />
<span style="color: black;">I came to United Stated from the world where puppet theatres
most often operate in their own buildings and where schools regularly visit
theatres. A school field trip to the theatre is celebrated and valued. Puppet
theatres play an especially important role in offering programs for elementary
schools and their students. Polish schools themselves offer much less theatrical
activities and programs than the schools in <st1:state><st1:place>Massachusetts</st1:place></st1:state>
that I know best. In <st1:country-region><st1:place>Poland</st1:place></st1:country-region>
most theatrical classes and activities for children are offered by culture
centers or organizations<span style="mso-spacerun: yes;"> </span>as after school
programs. At such programs children and youth have chances to work with
artists. My experience as an artist working with children began in such a
settings. I continued this work parallel to my work with youth and adult professional
performers and artists. My methodology of working with children was shaped by
this rich and diverse experience. It emerged by trying and adapting techniques
and approaches I learned from my teachers and was developed when I worked with
youth and adult professionals. </span><br />
<span style="color: black;"></span><br />
<span style="color: black;">PRINCIPLE OF PARTNERSHIP</span><br />
<span style="color: black;"></span><br />
<span style="color: black;">One principle was and reminded fundamental. No matter if I
worked with adults or children, I always considered them to be, and approached
them as, partners. Dialog between me as a director and teacher and them as
actors was fundamental. I taught 7 year olds and I taught 50 year olds
professional actors. Most of my shows were and still are explorations. I gather
knowledge and experience from many sources and I bring this experience to my
actors. Often teaching techniques or developing techniques of acting were and
remain a part of my productions, no matter if I work with professionals or
children. This is especially apparent when in a project new kind of visual
elements, performing objects, or puppets are introduced, and where actors first
have to find ways to act with such objects. So some kind of training is placed
at the beginning of the project and when technique is developed and
internalized it is implemented into the creative process of building the show.</span><br />
<span style="color: black;"></span><br />
<span style="color: black;">PUPPET THATRE DIRECTOR AS A GUIDE INTO CREATIVE PROCESS </span><br />
<span style="color: black;"></span><br />
<span style="color: black;">As a director I use my rational intelligence and also I
trust impulses and inspirations coming from within and from the process itself.
My actors, collaborators, writers, co-writers, artists, musicians, teachers,
technicians are all part of the same organism that I build to work and create
as one.<span style="mso-spacerun: yes;"> </span>My job is to guide everybody be
creative, reach his or her highest potential and surpass what they know about
themselves while enjoying the process. I have to build clear and strong
guidelines to make this happen. How to keep open my own sources of creativity and
inspiration is a part of this work. Without keeping access to my own resources
open, I can not lead others into a new reality beyond the borders of the known.
<span style="mso-spacerun: yes;"> </span>Over the years I have developed ways to
do this, but I can only do it when I am trusted and given the freedom to use my
own methods, and when my actors and my collaborators want me to lead.</span><br />
<span style="color: black;"></span><br />
<span style="color: black;">When I direct I bring my techniques, methodologies, and my
culture. Schools have their own cultures, regulations, dress codes, and ways to
move around and to behave. <span style="mso-spacerun: yes;"> </span>Inviting an
artist to school to teach is one possible way to give children an opportunity
to know something about the arts. But inviting artist to actually create with
children is something very different and much more significant. When an artist
creates with children, she not only teaches techniques and leads children to
create, she leads a process where she and children create together. When the
artist is a puppeteer, actor, acting coach, and director, the process involves
many facets of creativity and provides opportunity for unique intensive
experience where everybody learns by exploring and integrating multiple levels
of cognitive, physical, sensory and emotional, and joyful experiences.</span><br />
<span style="color: black;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">AFTER SCHOOL ENRICHMENT PROGRAM AT <st1:place><st1:placename>HYANNIS</st1:placename>
<st1:placename>EAST</st1:placename> <st1:placetype>ELEMENTARY SCHOOL</st1:placetype></st1:place></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<st1:place><st1:placetype></st1:placetype></st1:place><span style="color: black;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">A good example of a project where I was invited to a school
to work with teachers and children as a puppeteer and director was the after
school enrichment program at Hyannis East Elementary School on Cape Cod, which
I conducted in 2005. The following year I directed a similar project at the
same school.<span style="mso-spacerun: yes;"> </span>After that I worked as a
teacher, I directed school productions, I conducted summer or after school
workshops, and I performed independently; but I haven’t had a chance to work with
children in schools as a visiting artist.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">A puppetry format in which the actor is visible for the
audience, as in Jan Dorman’s style, is very good when working with children.
When children play with a doll they project an imagined character onto the doll
and do not care if they have an audience.<span style="mso-spacerun: yes;">
</span>In puppet theatre they switch from using the puppet as a doll to
presenting it to the audience. Artists and teachers can help with this
important element of children’s puppetry experience.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">Manipulating techniques are not easy to master, but for the
purpose of creating inspiring experiences for the child there is no need to
master them.<span style="mso-spacerun: yes;"> </span>It is more important to
ensure that a child is actively involved in the process, and that the puppets,
as well as other aspects of the process, motivate and stimulate his/her
imagination and creative experience.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">The first Hyannis East Elementary workshop was exemplary in
its use of the strategies I mentioned before, and for creating an environment
where teachers supported the artist’s work with children.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="mso-spacerun: yes;"></span><span style="color: black;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="mso-spacerun: yes;"></span><span style="color: black;">About 40 children and 5 teachers were involved. We worked on
the production of a play, which was an adaptation of a Polish folk tale
transcribed by renowned Polish writer Gustaw Morcinek. In our adaptation three
families present in Morcinek’s tale grow in numbers to accommodate the number
of participants of the project. The project lasted 7 afternoons from <st1:time hour="16" minute="30">4:30</st1:time> to <st1:time hour="18" minute="0">6:00</st1:time>.
I was visiting the first, third, fifth and seventh days.<span style="mso-spacerun: yes;"> </span>In between on the second, third and fifth
days, teachers worked with 4<span style="mso-spacerun: yes;"> </span>groups
following guidelines we prepared together, practicing texts, and scenes,
designing and building sets and creating masks. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">During my first visit we met in the gym, introduced children
to the project, and played initial warm-up, expression and name games. Then we
read the play. Next we split the group into two halves and we continued playing
games. This time the games were chosen for their usability for the production.
They served to develop expressiveness in physical acting, introduced patterns
and rules of organizing scenes. This all was done in a big gym, split in two,
one side for each group. I was moving from group to group, initiating games and
exercises and watching children for their natural skills and talents. This part
of the work served also as an audition, giving me and the teachers some clues
for casting. Then we gathered all the children in a big circle and announced
the cast, creating 5 groups for further work. Then each one of these five
groups read its own part of the script. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">We had a group of Storytellers whose task was to read
narrative parts of the story. The second group was a family of the Poor
Shoemaker: The Shoemaker, His Wife and Children. The third group portrayed
family of Poor Shoemaker’s brother – a rich Miller: The Miller, His Wife and Children.
The fourth group was cast as an allegorical figure of Poverty and her children.
The fifth group was responsible for designing and creating sets for the
production. One remaining character, Wise Man/ Beggar, worked interchangeably with
two groups.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">The second day teachers worked in
four groups practicing lines, drawing, designing and paining masks, discussing
and designing costumes, designing sets and priming cardboard.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">The third day, work in groups was
continued. I was visiting and I worked with each group, blocking actions and
helping in shaping expressiveness of the actions and voices, and advising and
praising designers and painters.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">The fourth day teachers continued
work in groups practicing, what we developed during previous meeting and
painting scenery on prepared sheets of cardboard. Designers continued work on painting
scenery and they started work on posters, invitations, and program.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">On the fifth day I again joined the process. The actors
started together, checking costumes and warming up. Then we continued rehearsing
scenes in order and practiced transitions between scenes. Designers continued
their work.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;"> </span></div>
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<span style="color: black;">The first part of the sixth day children worked in groups
practicing their parts. Then they gathered together and did a run through of
the entire play.</span></div>
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<span style="color: black;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">The last, seventh, day I was leading the dress rehearsal.
Then parents and friends were invited and children presented their work to
them. The short party followed. </span></div>
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<span style="color: black;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">This project was exemplary for cooperation between a visiting
artist and teachers. I brought an idea backed by years of experience in the
theatre and creative theatrical work with adults, youth and children.<span style="mso-spacerun: yes;"> </span>I came with enthusiasm toward the project and
received wonderful support from teachers and trust and enthusiasm of children.
Teachers helped on every level of the work. They helped adapt the play. They
participated in designing the schedule and planning work with groups and
facility usage, so transitions from room to room, activity to activity, and teacher
to artist were smooth and energizing. My task was to provide my expertise in building
a dynamic creative process and team to inspire, coach, introduce techniques,
ignite creative energies, and lead toward the final experience.</span></div>
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<span style="color: black;"> </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black;">This was
great and I was happy to see children perform.</span></div>
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<span style="color: black;"> </span></div>
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<o:p></o:p> </div>
Dream Tale Puppetshttp://www.blogger.com/profile/04883241477889443041noreply@blogger.com0tag:blogger.com,1999:blog-445304421227054473.post-34197250950529013542014-06-09T19:58:00.000-07:002014-07-10T19:40:25.742-07:00CAPE COD PUPPET GAM<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;">Dream Tale Puppets invites you to</span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;"><strong>THE CAPE COD PUPPET GAM</strong></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;"><strong></strong></span> </div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;">Whalers who met on the high seas held a gam
to tell their lively tales. This summer, watch as three imaginative puppet
companies tell their adventurous tales at the Cape Cod Puppet Gam, held on five
Tuesday afternoons in Falmouth.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;">The shows will be presented at 4pm at John
Wesley United Methodist Church, Gifford Street & Jones Road, from July 8
to August 5 and are best for ages 3 and up.<o:p></o:p></span></div>
<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;">Tickets will be sold for $8 at the door.<o:p></o:p></span><br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;">The “Cape Cod Puppet Gam” series is produced
by Falmouth's own “Dream Tale Puppets, " a troupe founded by Jacek
Zuzanski in 2003. The ensemble relishes the chance to share the adventure of
wandering through lands of enchantment, mystery, humor and joy with Cape
audiences. For more information, please see <a href="http://www.dreamtalepuppets.org/" target="_blank"><span style="color: #009e9e;">www.dreamtalepuppets.org</span></a>.<o:p></o:p></span></div>
<br />
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<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;">The "Cape Cod Puppet Gam" is
presented with the generous support of John Wesley United Methodist Church, the
Cape Cod Children's Museum, and friends of Dream Tale Puppets. Also, the series
is supported in part by a grant from Falmouth Cultural Council, a local agency
which is supported by the Massachusetts Cultural Council, a state agency. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;">John Wesley United Methodist Church<o:p></o:p></span></div>
<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;">Gifford Street & Jones Road<o:p></o:p></span><br />
<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;">Falmouth<o:p></o:p></span><br />
<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;"><a href="http://www.jwumcfalmouth.org/" target="_blank"><span style="color: #009e9e;">http://www.jwumcfalmouth.org</span></a><o:p></o:p></span><br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;"><strong>July 8, 4pm</strong></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;">“Rumpelstiltskin” by Dream Tale Puppets</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;">Dream Tale Puppets spins a lively tale of
gold and guessing games with rod puppets. Puppeteers Jacek Zuzanski and
Margaret Moody perform in tabletop style, with puppeteers and puppets visible to
the audience.</span><br />
<span style="font-family: Segoe UI;"></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbXlcLG_1yogXI-gUb5ZwIYrhBqiLYPI2w5XgQkuz8HduMBGG-ydrOulWI2wrRFlbWxivXEhpRwf0CwXWtuEJaEfbSNIU_LDUf5SZEWugRREaM-F2OoykOYrxEhTUEvuYx9VhdLOHFI9rm/s1600/Rump_for_workshop.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbXlcLG_1yogXI-gUb5ZwIYrhBqiLYPI2w5XgQkuz8HduMBGG-ydrOulWI2wrRFlbWxivXEhpRwf0CwXWtuEJaEfbSNIU_LDUf5SZEWugRREaM-F2OoykOYrxEhTUEvuYx9VhdLOHFI9rm/s1600/Rump_for_workshop.jpg" height="222" width="320" /></a></div>
</div>
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<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;"></span> </div>
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<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;"><strong>July 15, 4pm</strong></span></div>
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<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;">“Monkey Makes Mischief in Heaven” by Margaret
Moody of Galapagos Puppets</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;">The Monkey King is thrilled to have a job in
the Heavenly Peach Gardens – but can’t resist eating all the Jade Emperor’s
magical peaches and bending heavenly rules. Margaret Moody presents this
episode of the Chinese epic“ Journey to the West” with traditional Taiwanese
puppets and choreography.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;"></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgkMtPIPhFsG_rmiPjiNej8hlJpAqe3Hhyphenhyphen5b2wTiPxC2AqZQiz7g69kO2IfZHAYncBv4zbGEu_5xo3nXQXaXVbP806jG1OwOv1Mxi8R1qKiNQlz7K8kEn57hqQqsHQsmC7Oq9K7usVk7z-/s1600/Monkey.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgkMtPIPhFsG_rmiPjiNej8hlJpAqe3Hhyphenhyphen5b2wTiPxC2AqZQiz7g69kO2IfZHAYncBv4zbGEu_5xo3nXQXaXVbP806jG1OwOv1Mxi8R1qKiNQlz7K8kEn57hqQqsHQsmC7Oq9K7usVk7z-/s1600/Monkey.jpg" height="213" width="320" /></a></div>
</div>
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<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;"><strong>July 22, 4pm</strong></span></div>
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<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;">“The Great Red Ball Rescue” by Foreign
Landscapes Productions</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;">When Jasper’s favorite Red Ball is whisked
away by the tides, he sets out on an adventure across the ocean, under the
waves and into the clouds. Will he ever get his Red Ball back? Find out in this
stunning production featuring multiple styles of puppetry and lots of
sea-faring fun! </span><br />
<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;">"The Great Red Ball Rescue" was created by Faye Dupras with the generous support of the Jim Henson Foundation. </span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKh7E3Sys2Q3wrm0f5z_48VRgV_8hKLZPhMleQCZZMN48Nyu5lV3PFwzqagY49dPINJWkev5ttlGrhuNli2Fil7DWNKLd5uDm-slDuWNUJWABbfY37TWIBwmy3bag0K4GWY2_AHMAiNbQv/s1600/GreatRedBall.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKh7E3Sys2Q3wrm0f5z_48VRgV_8hKLZPhMleQCZZMN48Nyu5lV3PFwzqagY49dPINJWkev5ttlGrhuNli2Fil7DWNKLd5uDm-slDuWNUJWABbfY37TWIBwmy3bag0K4GWY2_AHMAiNbQv/s1600/GreatRedBall.jpg" height="240" width="320" /></a></div>
</div>
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<span style="color: #500050; font-family: Arial; font-size: x-small;"></span> </div>
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<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;"><strong>July 29, 4 pm</strong></span></div>
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<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;">"Story and Puppet Time” by Dream Tale Puppets</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;">Enjoy two adventures – “Three Little Pigs”
and “Little Red Riding Hood” – created with a small audience in mind. In this
improvisational form of puppet theatre, Jacek Zuzanski performs with rod and
hand puppets, accompanied by lively voices and narration of Norina Reif,
Laura Opie and Robert Bock.</span><br />
<span style="font-family: Segoe UI;"></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE0BVNv5F-cvdvCilWxDM6QcnCT55SPKJSY_jb__fvBiEH1mtK_76iEjth2Zni3mvoinZzVZ-ONWCRw17fD8eR5dgmvHpX0a39J0IWGlCvrQYDPjvaF7ydX5NFWMWarzFw7acr3LUquWoi/s1600/threelittle_shows.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE0BVNv5F-cvdvCilWxDM6QcnCT55SPKJSY_jb__fvBiEH1mtK_76iEjth2Zni3mvoinZzVZ-ONWCRw17fD8eR5dgmvHpX0a39J0IWGlCvrQYDPjvaF7ydX5NFWMWarzFw7acr3LUquWoi/s1600/threelittle_shows.jpg" height="211" width="320" /></a></div>
<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;"><o:p></o:p></span> </div>
<br />
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<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;"><strong>August 5, 4pm<o:p></o:p></strong></span></div>
<br />
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<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;">“Jack and the Beanstalk” by Dream Tale
Puppets</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;">Jacek Zuzanski presents a joyous version of
the classic tale of Jack, the cow and the beans using hand, rod and figurine
puppets and masks. Margaret Moody and Robert Bock provide voice and narration.</span><br />
<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;"></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrjQqEDgwq1ZHmlqo0hErtLDYM-rEVxPcb382Qr6FBxQTmd9RG8AR7MTxnkIAKITOuSUR2QHODa2e2UcvSNYYocC7YWtwUQvzTZAf8730gDcY2C2hqfh9oFvcYe-OQeL3srvVR-55_YhjV/s1600/Jack1web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrjQqEDgwq1ZHmlqo0hErtLDYM-rEVxPcb382Qr6FBxQTmd9RG8AR7MTxnkIAKITOuSUR2QHODa2e2UcvSNYYocC7YWtwUQvzTZAf8730gDcY2C2hqfh9oFvcYe-OQeL3srvVR-55_YhjV/s1600/Jack1web.jpg" height="253" width="320" /></a></div>
<span lang="EN" style="color: black; font-family: "Segoe UI"; font-size: 10.5pt; mso-ansi-language: EN;"><o:p></o:p></span> </div>
Dream Tale Puppetshttp://www.blogger.com/profile/04883241477889443041noreply@blogger.com0tag:blogger.com,1999:blog-445304421227054473.post-47965307811996221092014-03-26T19:23:00.001-07:002014-03-26T20:02:31.024-07:00The Village Green - March 2014
<br />
<div style="background: white; border-color: currentColor rgb(230, 230, 230); border-style: none solid; border-width: medium 1pt; mso-border-left-alt: solid #E6E6E6 .5pt; mso-border-right-alt: solid #E6E6E6 .5pt; padding: 0in;">
<div style="background: white; border: currentColor; margin: 0in 0in 0pt; mso-border-left-alt: solid #E6E6E6 .5pt; mso-border-right-alt: solid #E6E6E6 .5pt; mso-line-height-alt: 8.5pt; mso-padding-alt: 0in 0in 0in 0in; padding: 0in;">
<span lang="EN" style="color: #333333; mso-ansi-language: EN;">Published on March 19, 2014 this
episode of the Falmouth Community Television’s program -Village Green, hosted
by Davidson Calfee and Kakani Young, features the Dream Tale Puppets, The Cape
Cod Curling Club and coverage of the Falmouth Museums on the Green's event for
the 200th Anniversary commemoration of the Nimrod's bombardment of Falmouth.</span></div>
<div style="background: white; border: currentColor; margin: 0in 0in 0pt; mso-border-left-alt: solid #E6E6E6 .5pt; mso-border-right-alt: solid #E6E6E6 .5pt; mso-line-height-alt: 8.5pt; mso-padding-alt: 0in 0in 0in 0in; padding: 0in;">
<span lang="EN" style="color: #333333; mso-ansi-language: EN;"><o:p></o:p></span> </div>
</div>
<iframe allowfullscreen="" frameborder="0" height="270" src="//www.youtube.com/embed/7ENOwDe9PPM" width="480"></iframe>Dream Tale Puppetshttp://www.blogger.com/profile/04883241477889443041noreply@blogger.com0tag:blogger.com,1999:blog-445304421227054473.post-64706347980114728982014-03-15T19:10:00.000-07:002014-03-17T20:00:09.839-07:00"From Poland to America: My Life in Puppetry and Theatre" - Notes on the Presentation at the Boston Area Guild of Puppetry Meeting<br />
<span style="color: black;">In May, 2013, my puppetry and work
in </span><st1:country-region><st1:place><span style="color: black;">Poland</span></st1:place></st1:country-region><span style="color: black;"> and US were the subjects of a program which I presented
for members of the Boston Area Guild of Puppetry at the Puppet Showplace
Theatre in </span><st1:place><st1:city><span style="color: black;">Brookline</span></st1:city><span style="color: black;">, </span><st1:state><span style="color: black;">MA</span></st1:state></st1:place><span style="color: black;">. The following notes on the presentation were taken by
Gail Kearns, a BAGOP guild member. They appeared in the July, 2013, issue of
"The Control Stick", newsletter of the </span><st1:city><st1:place><span style="color: black;">Boston</span></st1:place></st1:city><span style="color: black;"> guild. <span style="mso-spacerun: yes;"> </span>Thanks to
Gail for the permission to use the notes here.<o:p></o:p></span><br />
<br />
<div class="MsoNormal" style="background: white; margin: 0in 0in 0pt;">
<b><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">THE (</span></b><st1:date day="17" month="5" year="2013"><b><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">5-17-13</span></b></st1:date><b><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">) PROGRAM</span></b><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;"><o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="background: white; margin: 0in 0in 0pt; text-indent: 0.25in;">
<span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">The May program was
presented by </span><st1:place><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">Cape Cod</span></st1:place><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">’s Jacek Zuzanski of Dream Tale Puppets. It
was entitled “From Poland to </span><st1:country-region><st1:place><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">America</span></st1:place></st1:country-region><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">: My Life in
Puppetry and Theatre.” Jacek talked first about the concept of “wonderland” and
of the theater as a “gateway” or means of passage into this “wonderland.”
Jacek, while not religious, does believe in “wonderland.” He has recently been
given space for his studio and children’s classes in the </span><st1:place><st1:placename><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">John</span></st1:placename><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;"> </span><st1:placename><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">Wesley</span></st1:placename><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;"> </span><st1:placename><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">United</span></st1:placename><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;"> </span><st1:placename><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">Methodist</span></st1:placename><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;"> </span><st1:placetype><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">Church</span></st1:placetype></st1:place><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;"> in </span><st1:city><st1:place><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">Falmouth</span></st1:place></st1:city><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">, where he is now
teaching children and others how to create “wonderland” for themselves.<o:p></o:p></span></div>
<br />
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<span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">Jacek says that
there are two layers to think about when creating one’s own theatrical gateway
into “wonderland.” The first layer is that of the story and which stories you
choose to tell. The second consists of the tools that one uses to create the
“passage” into “wonderland.” These include dance, puppets, movement, and more
--- whatever helps; all are ways to reach “wonderland.” <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="background: white; margin: 0in 0in 0pt; text-indent: 0.25in;">
<span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">You the artist are
always going to be the “hero” in the wonderland you create. But language is
also important, and Jacek talked about the significance of language. Our
cultures have different languages. And the language of the puppet arts is also
complex and rich in its many forms. How are we to manage using language to gain
entry into our “wonderland”? Jacek says that one way to do this is by giving
life to one’s puppets. Working with puppets has taught him how to pass through
the theatrical gateway. <o:p></o:p></span></div>
<br />
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<span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">Another key word
when thinking about theater is “community.” Creating community and being part
of a community can be another means of discovering “wonderland.” You work with
others to find a common passion. And while telling one’s story, there really is
no “I” in it because in working with others, the story has become “our” story;
this is the “paradox of ‘I’” in the theater.<o:p></o:p></span></div>
<br />
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<span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">Jacek first began
learning theater while in high school in </span><st1:country-region><st1:place><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">Poland</span></st1:place></st1:country-region><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;"> in an afterschool
class in pantomime theater. Pantomime is “theater of the body.” This class led
to an apprenticeship for Jacek in the professional Wroclaw Mime Theatre, which
is known throughout the world. Here, Jacek worked with Henryk Tomaszewski, the
founder and director of the theater. Jacek also studied in a puppet theater in
the south of </span><st1:country-region><st1:place><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">Poland</span></st1:place></st1:country-region><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;"> called
“Jeleniogorski Teatr Animacji,” or “Animation Theatre of Jelenia Gora.” Founder
and director of this theater was Andrzej Dziedziul, who had begun his career
working as a solo performer with dramatic texts using objects and props to
represent characters. Shakespeare’s <i>Hamlet,</i> e.g., was performed with
bottles that represented the characters in the play. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="background: white; margin: 0in 0in 0pt; text-indent: 0.25in;">
<span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">Jacek drew a
contrast between the way puppetry is taught here in the </span><st1:country-region><st1:place><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">United States</span></st1:place></st1:country-region><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;"> and how it is
taught in </span><st1:country-region><st1:place><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">Poland</span></st1:place></st1:country-region><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">. In </span><st1:country-region><st1:place><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">Poland</span></st1:place></st1:country-region><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;"> the student starts
by learning the skills and arts of acting, and then of acting with puppets.
LOTS of time in </span><st1:country-region><st1:place><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">Poland</span></st1:place></st1:country-region><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;"> is spent on acting
skills and on using the body in motion. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="background: white; margin: 0in 0in 0pt; text-indent: 0.25in;">
<span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">Also, most Polish
puppetry projects are done as whole class or as group projects rather than as
individual projects. Here in </span><st1:country-region><st1:place><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">America</span></st1:place></st1:country-region><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;"> at the </span><st1:place><st1:placetype><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">University</span></st1:placetype><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;"> of </span><st1:placename><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">Connecticut</span></st1:placename></st1:place><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">, Jacek said,
students begin with making puppets and creating their own shows. But creating
one’s own show was only one of the final projects completed while studying the
arts of puppetry in </span><st1:country-region><st1:place><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">Poland</span></st1:place></st1:country-region><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">. <o:p></o:p></span></div>
<br />
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<span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">Jacek also
participated in projects conducted by the actors of the Theatre Laboratory of
Jerzy Grotowski in the south of </span><st1:country-region><st1:place><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">Poland</span></st1:place></st1:country-region><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">. In Grotowski’s
Laboratory Theatre, there was not much puppetry done at all. Jacek told us of
projects of the theater from the 1980’s in which groups consisting of actors
and non-actors created and performed unscripted experiential activities without
audiences. These projects were created to enable participants to reach the
potential of their creative and physical abilities. The creators of these
projects developed techniques for building intensive awareness of all who were
involved in the process. Learning was about what group members were able to do
together with their bodies and minds. The quality of the interactions between
participants and always climbing to reach one’s potential as part of the group
was always the basic goal. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="background: white; margin: 0in 0in 0pt; text-indent: 0.25in;">
<span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">Jacek also
studied with Grotowski’s actors, who were all instructors in the physical style
of acting that had been developed at the Grotowski Laboratory. Jacek was
reminded of how diverse his training had been when he saw one of Margaret
Moody’s puppet shows. In her puppet shows, Margaret uses Chinese hand puppets
with the Chinese hand puppet manipulation skills that she learned in </span><st1:country-region><st1:place><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">Taiwan</span></st1:place></st1:country-region><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;"> from Li Tien Wu.
This, Jacek said, is a language of hand puppetry that uses the
puppeteer’s hands in ways that are quite different from the language used
by puppeteers from Western cultures, despite the fact that the puppeteer’s
hands are used as the bodies for the characters in both cultures. In much the
same way, the physical body skills that Jacek learned are used with his
puppetry to create a different orientation to puppetry. <o:p></o:p></span></div>
<br />
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<span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">One of Jacek’s
teachers was Jan Dorman, who used puppets together with the rituals and games
of children’s play activities to create puppet theatre. Dorman’s highly
stylized puppet shows were created like musical compositions. A variety of
literary materials were used and adapted for desired theatrical effects. The
acting was stylized and included the use of masks and other objects in
performance as well as puppets. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="background: white; margin: 0in 0in 0pt; text-indent: 0.25in;">
<span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">Jacek also told us
briefly about some of his own artistic projects. In the earlier years of his
career, he produced and performed his own puppet shows in southeastern </span><st1:country-region><st1:place><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">Poland</span></st1:place></st1:country-region><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">. He also taught
acting and puppetry in a variety of cultural centers, museums, schools, and
theaters, and he designed sets and puppets and directed puppet shows for
municipal puppet theaters in </span><st1:city><st1:place><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">Wroclaw</span></st1:place></st1:city><span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;"> and Jeleria Gora.
He founded the Group of Theatrical Actions Association and TEART. Through these
groups, he worked with artists and actors to create puppet shows, parades,
outdoor shows, street theater productions, and workshops for children, youth,
teachers, and international groups. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="background: white; margin: 0in 0in 0pt; text-indent: 0.25in;">
<span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">Jacek gave us a
brief demonstration of how he combines body acting with puppetry. In his Dream
Tales Puppets version of “Rumpelstiltskin,” he uses tabletop puppets with the
puppeteer fully visible for the audience. The puppeteer is both actor and
puppeteer, and the bodily actions of the actor, which were quite exaggerated
and dramatic, contributed much to the effect of the scene that he performed for
us. In Jacek’s “Jack and the Beanstalk,” hand puppets, marionettes, inanimate
figures, and masks were all used in performance with minimal costuming (such as
a bonnet) to represent a character. By exchanging simple costume items,
characters are able to be easily changed by a solo performer within a
performance. </span></div>
<div class="MsoNormal" style="background: white; margin: 0in 0in 0pt; text-indent: 0.25in;">
<span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;"></span> </div>
<div class="MsoNormal" style="background: white; margin: 0in 0in 0pt; text-indent: 0.25in;">
<span style="color: black; font-family: "Segoe UI"; font-size: 10.5pt;">Learning how
puppeteers are trained and how puppetry is learned and conducted in different
parts of the world contributes much to how we are able to understand our own
traditions and add to our own skills. More of the work of Jacek’s Dream Tale
Puppets can be found on his website at <a href="http://www.dreamtalepuppets.org/" target="_blank"><span style="color: #009e9e;">www.dreamtalepuppets.org</span></a>.
Jacek and Dream Tale Puppets will also be offering a one-week puppet camp class
for children through and at the Puppet Showplace Theatre in July. <o:p></o:p></span></div>
<br />
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<o:p> </o:p></div>
<br />
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<o:p> </o:p></div>
Dream Tale Puppetshttp://www.blogger.com/profile/04883241477889443041noreply@blogger.com0tag:blogger.com,1999:blog-445304421227054473.post-15797876950426651942014-03-13T07:39:00.001-07:002014-03-13T07:43:04.200-07:00United Personalities: Acting with Table Top Puppets at Puppet Showplace Theatre<span style="font-family: Arial, Helvetica, sans-serif;"></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Have you ever considered learning to act with puppets? Would
you like to learn new ways to play with your kids? Or maybe you are interested
in developing your expressive skills? Please consider joining and please spread
the word about Acting with Table Top Puppets at Puppet Showplace Theatre</span><br />
<span style="font-family: Arial;"></span> </div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjehL8p5Ychoo_6LYOuZW_FPAIRqFsrnhsK5NK4MjVyaPYspNMn5CuFi70vntDZr_wN3bbpanc6dY_u6tlPt32-1gImK_8RgOm0dscPMgcN15ZkQx7XpMRKF7SxBaxrD9kXiB4mXyARKreh/s1600/IMG_2724_web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjehL8p5Ychoo_6LYOuZW_FPAIRqFsrnhsK5NK4MjVyaPYspNMn5CuFi70vntDZr_wN3bbpanc6dY_u6tlPt32-1gImK_8RgOm0dscPMgcN15ZkQx7XpMRKF7SxBaxrD9kXiB4mXyARKreh/s1600/IMG_2724_web.jpg" height="320" width="258" /></span></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">.</span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="font-family: Arial, Helvetica, sans-serif;">http://puppetshowplace.org/index.php?page=adult-workshops#6<o:p></o:p></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large; mso-bidi-font-family: MyriadPro-Bold;">United
Personalities: Acting with Table Top Puppets</span></div>
<span style="color: black; font-family: Arial, Helvetica, sans-serif;"></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: black;">Instructor: Jacek Zuzanski, Dream Tale Puppets<br />
4 sessions, April 29 - May 20<br />
Tuesdays, </span><st1:time hour="18" minute="30"><span style="color: black;">6:30-9:30pm</span></st1:time></span><span style="color: black;"><br /><span style="font-family: Arial, Helvetica, sans-serif;">
Register by April 1: $150<br />
After April 1: $175<br />
Members save 10% on registration!</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: black; font-size: 13.5pt;"></span><span style="color: black;"><o:p></o:p></span></span><br />
<span style="color: black;"><span style="font-family: Arial, Helvetica, sans-serif;">Table top puppetry is a unique performance style that enables a
human performer to bring a puppet character to life in full view of the
audience. This powerful art form requires both physical precision and an
extensive vocabulary of expressive movements that trigger the imagination.<br />
<br />
In this hands-on, exploratory workshop, participants will build their awareness
of the actor/puppet relationship through a series of fun and challenging
exercises with professional table top puppets. The class will explore the
paradox of mutual control, whereby the puppet controls the puppeteer as much as
the reverse. The class will practice core manipulation skills and explore
performance techniques that unify actor and puppet, including breath, focus,
footsteps, balance, and posture. The class will then apply these learned skills
to devise their own unique solo and multi-character scenes. <br />
<br />
This is an intermediate level workshop: some familiarity with puppetry, acting,
or dance/movement is recommended. Although the class focuses on a very specific
performance situation, the workshop is for anyone interested in broadening
their puppetry performance skills in a supportive and detail-oriented environment.<o:p></o:p></span></span>Dream Tale Puppetshttp://www.blogger.com/profile/04883241477889443041noreply@blogger.com0tag:blogger.com,1999:blog-445304421227054473.post-82214804777726391822014-02-12T21:36:00.000-08:002014-02-12T21:36:56.660-08:00A Masterful Jack and the Beanstalk<span lang="EN" style="color: black; mso-ansi-language: EN;"><span lang="EN" style="mso-ansi-language: EN;">Puppeteer and vocal artist Suzanne Pemsler reviewed Dream Tale Puppet's
"Jack and the Beanstalk" performance at
the Arlington Center for the Arts in the January 2014 issue of <i>The
Control Stick</i> - Newsletter of the Boston Area Guild of
Puppetry. Let me make this text available here.</span><br />
<br />
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<span style="font-family: CoopCondensed; font-size: 16pt; mso-bidi-font-family: CoopCondensed;">A
Masterful Jack and the Beanstalk</span></div>
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<span style="font-family: MyriadPro-Semibold; font-size: 11pt; mso-bidi-font-family: MyriadPro-Semibold;">Performed by Dream Tale Puppets, featuring Jacek Zuzanski
and Margaret Moody</span></div>
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<b><span style="font-family: MyriadPro-Bold; font-size: 11pt; mso-bidi-font-family: MyriadPro-Bold;">Review
by Suzanne Pemsler<o:p></o:p></span></b></div>
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<span style="font-family: MyriadPro-Regular; font-size: 9.5pt; mso-bidi-font-family: MyriadPro-Regular;">Though
I put on the mantle of childhood as I entered the </span><st1:place><st1:placename><span style="font-family: MyriadPro-Regular; font-size: 9.5pt; mso-bidi-font-family: MyriadPro-Regular;">Arlington</span></st1:placename><span style="font-family: MyriadPro-Regular; font-size: 9.5pt; mso-bidi-font-family: MyriadPro-Regular;"> </span><st1:placetype><span style="font-family: MyriadPro-Regular; font-size: 9.5pt; mso-bidi-font-family: MyriadPro-Regular;">Center</span></st1:placetype></st1:place><span style="font-family: MyriadPro-Regular; font-size: 9.5pt; mso-bidi-font-family: MyriadPro-Regular;">
for the Arts, I did not succumb to the inviting cushions set out on the floor
in front of the stage. The young children in the audience tested them out,
avidly hopping from one floor-pillow to another to get closer — and closer
still — to the fascinating set before them. “Is it a beanstalk?” </span><span style="font-family: MyriadPro-Regular; font-size: 9.5pt; mso-bidi-font-family: MyriadPro-Regular;">“Is
it a boat with sails?” The stage setting was non-representational and held
fascination for the audience. What was to happen within it? <o:p></o:p></span></div>
<br />
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<span style="font-family: MyriadPro-Regular; font-size: 9.5pt; mso-bidi-font-family: MyriadPro-Regular;">At
first, the story unfolded with Margaret as Storyteller and Jacek manipulating charming
small puppets, including all the characters necessary to outline the opening
plot — Jack, Jack’s Mother, a Cow named “Milky White," the Bean seller and
the many assorted characters attendant to the exciting, fast moving opener when
young Jack goes on a grown-up mission to sell his beloved cow and returns with
the beans to an outraged mother.<o:p></o:p></span></div>
<br />
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<span style="font-family: MyriadPro-Regular; font-size: 9.5pt; mso-bidi-font-family: MyriadPro-Regular;">Having
deftly hung a cloth behind the stage, Jacek had defined the area, yet was able
to use the stage, not only in <span style="mso-spacerun: yes;"> </span>manipulating
his well- crafted and intriguing puppets but also, later, when he appeared before
the stage at his full height miming the nasty, irreverent, scary Giant.<o:p></o:p></span></div>
<br />
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<span style="font-family: MyriadPro-Regular; font-size: 9.5pt; mso-bidi-font-family: MyriadPro-Regular;">It
was at that moment, when Jacek "became" the Giant, that a few
children leapt into their parent’s laps — though not for a second did they look
away from Jacek. The little ones were riveted to the action but simply couldn’t
handle it outside of their parents’ arms. The children remained fascinated
participants and wanted more and more of the melodrama once they felt secure.
Later, a few made their way back to the pillows and stayed through to the finale,
when the beanstalk was chopped down and all was well with Jack and his mother.<o:p></o:p></span></div>
<br />
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<span style="font-family: MyriadPro-Regular; font-size: 9.5pt; mso-bidi-font-family: MyriadPro-Regular;">The
small puppets were created by Jacek – the cow, the boy, the mother, the “bean
man,” as well as the vital characters from the Giant’s lair later on in the
play. They read well and pushed the intricate story forward.<o:p></o:p></span></div>
<br />
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<span style="font-family: MyriadPro-Regular; font-size: 9.5pt; mso-bidi-font-family: MyriadPro-Regular;">Margaret’s
role was far greater than that of an amiable storyteller sitting on a stool at
far stage right. She created the perfect atmosphere replete with the repetition
of “Fee Fi Fo Fum, I smell the blood of an Englishman. Be he alive or be he
dead. I’ll grind his bones to make my bread.” The children joined in loudly
each time and with verve, even the ones clinging to their parents. Margaret
offered intriguing, fun vocal sound effects – including some magnificent burps
when the Giant ate too much, too fast! Some of the children giggled through
their fear. So many effective interjections brought the story alive. With
careful vocal modulation, she prepared the children for each of the many
segments of the story. She infused the story with her voice portraying both joy
and terror. Even I became nervous that Jack wouldn’t make it down after his final
theft. But, without a lap to leap to, I shuddered by myself until I could
release my terror.<o:p></o:p></span></div>
<br />
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<span style="font-family: MyriadPro-Regular; font-size: 9.5pt; mso-bidi-font-family: MyriadPro-Regular;">I
loved the details such as the wind beginning to howl and the drapes and flags
moving. My heart beat faster at that moment. In contrast, joyful lines for the puppets
like ”It’s not everyday you have a chance to see a small boy pulling a cow named
'Milky White,'" brought delight.<o:p></o:p></span></div>
<br />
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<span style="font-family: MyriadPro-Regular; font-size: 9.5pt; mso-bidi-font-family: MyriadPro-Regular;">When
the play ended, the afternoon did not. Most of the children, having been
enthralled by the small puppets, came up to study them in some detail and
afterwards some stayed to play with other puppets in a capacious puppet corner
prepared for them.<o:p></o:p></span></div>
<br />
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<span style="font-family: MyriadPro-Regular; font-size: 9.5pt; mso-bidi-font-family: MyriadPro-Regular;">This
was an entire afternoon of puppetry and mime and story scariness and smiles and
the children felt enveloped in it all and gave back to the performers after the
show with their interest and their own imagination. The atmosphere remained
magical throughout. <o:p></o:p></span></div>
<br />
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<span style="font-family: MyriadPro-Regular; font-size: 9.5pt; mso-bidi-font-family: MyriadPro-Regular;">The
children and their parents experienced a total immersion into the magic of puppetry
and theater. I felt privileged to be in the audience.<o:p></o:p></span></div>
<br />
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<i><span style="font-family: MyriadPro-It; font-size: 9pt; mso-bidi-font-family: MyriadPro-It;">Jacek
Zuzanski is the director, designer and lead performer of Dream Tale Puppets, founded
in 2003. Margaret Moody performs </span></i><i><span style="font-family: MyriadPro-It; font-size: 9pt; mso-bidi-font-family: MyriadPro-It;">with
Dream Tale Puppets and with Galapagos Puppets. </span></i></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none;">
<i><span style="font-family: MyriadPro-It; font-size: 9pt; mso-bidi-font-family: MyriadPro-It;">"Jack
and the Beanstalk" was performed on December 7 as part of "Puppets at
</span></i><st1:place><st1:placename><i><span style="font-family: MyriadPro-It; font-size: 9pt; mso-bidi-font-family: MyriadPro-It;">Arlington</span></i></st1:placename><i><span style="font-family: MyriadPro-It; font-size: 9pt; mso-bidi-font-family: MyriadPro-It;">
</span></i><st1:placetype><i><span style="font-family: MyriadPro-It; font-size: 9pt; mso-bidi-font-family: MyriadPro-It;">Center</span></i></st1:placetype></st1:place><i><span style="font-family: MyriadPro-It; font-size: 9pt; mso-bidi-font-family: MyriadPro-It;">
for the Arts," now in its "fth season. For information on upcoming
shows, please see galapagospuppets.blogspot.com.<o:p></o:p></span></i></div>
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Dream Tale Puppetshttp://www.blogger.com/profile/04883241477889443041noreply@blogger.com0tag:blogger.com,1999:blog-445304421227054473.post-2256978655420855552014-02-05T20:26:00.003-08:002014-03-08T19:47:30.410-08:00Interview after the performance at Falmouth Community TelevisionOn January 23, I had the pleasure to perform “Rumpelstilskin” with Norina Reif at Falmouth Community Television. We were hosted by Basia Goszczynska and Keith Hopkins. Following the performance, Basia interviewed us for the Village Green TV program. I was happy about this opportunity to reach out to the Falmouth community and those that may like to join us in future project or support our work.<br />
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However, after the interview, I found that there was still more I would have liked to say.<br />
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I invite you to read the following questions I received from Basia before our interview and my more in-depth answers about my work with Dream Tale Puppets, how I got started and the way in which our creations come to life. <br />
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Thank you to Melinda Lancaster for help in finding right words.<br />
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<strong>Basia Goszczynska: What first sparked your interest in puppets and theatre?</strong><br />
Jacek Zuzanski: Briefly, I was always into drawing and painting. Doodling with colored pencils, sketching race cars or maps of places I visited was part of my childhood. In high school, it took shape in the form of a more conscious study of art, drawing and painting. When people started buying my pictures, it become clear that art should have something to do with what I chose to do in life. I discovered theatre as a high school student when I joined an afterschool program of pantomime theatre. This was fascinating. I found that I could use my body, my entire self, to create three dimensional living pictures and do it together with others. Shortly after, I discovered that in visual theater, puppet theatre, I could explore both these artistic universes- one of the seen world and one of the world of action. Inspiration came from my friend who used to participate in workshops guided in Europe by Bread and Puppet Theater. He advised me on joining Jelenia Gora Animation Theatre, founded by Andrzej Dziedziul, which was an experimental puppet theatre in a little town in Southwest Poland – I did and that’s how this all started.<br />
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<strong>How do you decide on which stories to develop into theater productions?</strong><br />
Each project has its own origins and is preceded by specific sets of circumstances. Sometimes the story is the first thing decided upon before production starts, sometimes other elements or ideas are primary. In some of my productions in Poland visual elements were the bases for developing the show. First we created puppets, masks and other performing objects, then we asked ourselves, “How can we use these elements to create the show, what kind of story or stories are concealed or potentially exist in these objects or characters and how do we discover and reveal these stories? How do we give them life?” Asking questions was an important part of the creative process.<br />
In many productions we did not use words; scenes were comprised of actions performed by actors, dancers, mimes and puppets, by using masks and other visual elements. Sometimes the story may have been discovered during rehearsals, but in many projects we invited the audience to make their own interpretations and to discover their own story in the performance.<br />
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In my recent work with children at the Falmouth Academy, some of the summer workshops and productions started with a strong visual idea. We didn’t have a story to start with. We, my friend Laura Opie and I, invented the story and the play, keeping in mind the length of the program (2 weeks), the age and number of participants (approximately 10-12, 7-12 year olds) and the number of hours per day (2 ½) we had to work on the production.<br />
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When writing for these workshops, we seek to create, challenging scenes for the actors as well as varied narrative techniques and theatrical languages. We try to figure out how interesting, yet fun, acting exercises and games can lead us to creating formally distinctive, structurally strong and emotionally loaded scenes. We seek to incorporate visual elements of strong poetic potential that are easy to design and build with children in short amount of time and with no budget. Then, in meetings, writings and discussions the story and play emerge.<br />
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In Dream Tale Puppets, I try to balance my own interest and curiosity with what may be attractive to our audience. Our current shows are addressed toward children and family audiences. Traditional, well known fairy tales are the natural choice. In addition, I have always been fascinated by fairy tales, their psychological deepness and wisdom. In “Rumpelstilskin, I found that the main character’s search for the name of the magical character meets my interest in the power of words. I learned English as a second language and I feel a strong empathy for a character who searches for the right word that will make a dramatic change in her life, in this case, saving her child from the impious gnome, Rumpelstilskin.<br />
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Dream Tale Puppets’ next project will be using a well-known story as a departure point for devising the performance and developing a play. We will be making new puppets and visual elements, we will explore possible relationships between storytellers/puppeteers and puppets and manipulating techniques and the play will emerge in a creative process where writer, designer, director and actors are all involved. We used elements of this approach in the last Dream Tale Puppets’ production of “Jack and the Beanstalk”.<br />
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<strong>How do you create your puppets? Can you talk about the techniques involved?</strong> <br />
Each project calls for its own visual style and puppets. But, in general, I prefer to work with simple materials and techniques. Most often we use rod puppets where the heads and hands are carved from styrofoam and covered by a few layers of papier-mâché. When working with children and creating puppets for a single show use, we use the blue marine foam used for floats. It is a little heavier than white styrofoam, but very easy to carve and easily painted over two or three times to harden it. Most often, the bodies of puppets are simply formed by draping fabric over the rods or from fabric attached to a piece of wood, which forms the shoulders. Sometimes I make clay models before carving in styrofoam and sometimes the head is made out of papier-mâché alone, over a model made out of clay. This technique requires seven or more layers of papier-mâché and is very convenient for mask making. We also often use cardboard as construction material. In the upcoming Dream Tale Puppets’ production we plan on using “found objects". You may say that we plan to recycle “stuff” or “found treasures” to give it a second life as elements to build puppets.<br />
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<strong>Who is your target audience?</strong><br />
The audience for Dream Tale Puppets’ performances is children three years old and older and their families. As a teacher, my workshops and their performances are most often for children seven-twelve years old and their families and friends.<br />
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<strong>Why are you passionate about live theater?</strong><br />
The first and commonly acknowledged source of the passion for live theater is its immediacy of being live itself. By producing the show you are bringing characters to life. The actualization of life of someone other than you, by you, whether you are an actor using only his own body, a puppet or number of puppets, is fascinating in itself. It allows one to study and to experience creative processes of life in all its complexities and simplicities, seriousness and humorousness. The deepness or shallowness of this study only partly depends upon the character the actor plays; in puppet performance an actor may need to create a number of characters, use a variety of voices and performing techniques. Each technique of giving life to a puppet requires mastery. Sharing this act of creating life with the audience adds an additional dimension to this life and provides a chance for everyone present to realize a new living reality through their senses, minds and hearts.<br />
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Another reason to be passionate about live theatre has to do with its communal nature. The community of artists that passion for theatre brings together creates a culture of its own. Every new project provides the opportunity for new artistic and social explorations and allows us to ask new questions about the nature of community, its values and ways to actualize its vitality. We learn from researching material for the production, examining languages of expression and means of being alive, while immersing ourselves in the synergistic nature of the creative process. During rehearsals and in dialog about the material we explore, we create each other and the theatrical organism which supports our development. In this process, what is individual merges with what is communal.<br />
Meeting with the audience allows this theatrical community and life to find its broader environment, justification, a mutual relationship and meaning.<br />
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<strong>What are the benefits of attending one of your performances?</strong><br />
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We offer a high quality, enjoyable and illuminating theatrical experience. While we use a variety of puppetry styles, usually our performers are as visible as the characters they operate or portray and the audience experiences not only the story, but how it is created. This performing style has many analogies to the ways children play and reinforces the creative thinking and imaginative playfulness. We are extremely serious about having fun! Dream Tale Puppets benefits as well. Through the support of the local community- by attending our performances, inviting us to schools, pre-schools or party, and by signing children up for our workshops- we are able to continue to develop our art, bring more performances to the community, and enhance the audience’s experience.Dream Tale Puppetshttp://www.blogger.com/profile/04883241477889443041noreply@blogger.com0