Tutorial 2

        In preparation for the second tutorial, I wrote a short piece which would clarify in greater depth my intentions for the practical aspect of this project. While this would provide a discussion point within my tutorial, I also felt it would be beneficial to me, as this was in my opinion the weakest part of my proposal. However, after the first tutorial my ideas have begun to fall into place and I feel that I now have a more developed concept of what I will need to achieve. This is still a considerable to task to undertake, and while it will no doubt be demanding, I am excited about what I might achieve.

            In constructing a number of puppets, I hope to incorporate the principles which my reading and research has so far uncovered. A common view shared by practitioners and theorists alike is that a theatrical puppet should not be burdened by the weight of realism, at least not in appearance. As eloquently put by Barry Smith “a puppet is a puppet – not an imitation actor…the less the puppet depends on naturalism, the greater is its power of illusion; but the more the puppet tries to imitate the surface of life for its own sake, the more it draws attention to its limitations.” This principal is well illustrated by Handspring’s puppets; constructed from bare cane, plywood, paper and fabric, they are beautiful objects in their own right, but would never be mistaken for real animals. Their illusion of life is rather drawn from the way in which they move and breathe. To this end, I will attempt to focus my investigation as much on the mechanical construction and movement as on the surface design of the character.

                The stop-motion puppet is different. Unlike its theatrical counterpart who will usually be viewed from afar, it will be subject to the close scrutiny of the camera. While this does not mean that a greater level of realism/naturalism is called for in the design, it may require a greater level of detail. A stop motion puppet may have need of a more expressive face.

        While my practical investigation will initially be informed by my research, I anticipate that a great deal of learning and development will happen throughout the construction of my puppets, and that my portfolio will consist of various prototypes, material tests and maquettes, as well as more finalised pieces.

          How can I incorporate the various elements together? At the moment it feels a little disjointed between creating a theatrical and a stop motion puppet. I understand that the best way to incorporate CGI may be as rigging tests for the construction of the puppets, rather than a fully modelled character.

        Another issue which had previously been raised by my tutor was my tendency for perfectionism which may impact on my ability to complete the work on time. This is something which had been of concern to me, as while I am aware that the construction and mechanism of the puppets is integral to my project, I have a strong desire to make a fine and beautiful artifact which I would be proud to have in my portfolio. Consequently, the prospect of making a skeleton or armature with a rough or unfinished quality to it did not fill me with excitement.

        Fortunately, while studying the work of Handspring Puppet Company, I came across their puppet of a hyena. Like their War Horses, the hyena was minimal; not finely carved or sculpted like a traditional marionette or immensely detailed like a shadow puppet, but still a beautiful artifact in its own right.

        The mechanics and structure of the hyena are effectively still on show, hidden only beneath a tattered layer of gauzy fabric, which connects with the Brechtian ideology (as do the visible controllers) of highlighting the artifice of the performance. Yet in the hands of skilled puppeteers, the puppet is capable of a realistic and natural performance which creates an illusion capable of transcending its artificial appearance.  

        It is on puppets like this that I hope to base my designs. They can still be attractive, expressive and full or character, but need not necessarily be highly polished and made from the finest material...the structure of the hyena is made of plywood, and uses canoe construction techniques, while Joey the War Horse is made from a skeletal structure of canes covered with a nylon gauze. Where the design is most successful and considered is in their faces, as much of the vivacity of a puppet can be attributed to its gaze. We have to believe that they are seeing and thinking if we are to believe they are living and not just moving.

        Other topics which were brought up and discussed during this tutorial include:

• Whether or not the puppeteer for my puppet should be hidden. This is a consideration which may affect the design, shape and size of my puppet. For example, the shape of the stag may be exaggerated (tall at the head with a sloping back) to accommodate a performer controlling the head.
• Following on from this, by the next tutorial I should really have decided on the scale of my puppet. While ideally I would love to work at full scale and produce a life sized stag, this is not entirely practical. If the puppet does not need to interact with humans (as is the case and justification for War Horse's life sized animals) then it is not necessary for it to be so large.
• When designing the corresponding stop motion puppet, consider the possibility of carrying through the visible mechanics and structure which is likely to be a feature of the 'traditional' puppet. Could the armature be visible in points, or incorporated into the design?
• Although I am very much a designer maker rather than a performer, performance is an integral and recurring theme in this project, I should seriously consider filming/animating the movement and performance capabilities of my puppets once they are ready. This could just be a short scene or vignette to prove that they work.
• I need to gather reference, not just for the appearance of stag, but also for their movement and behaviour. A deer park would be a good place to start (there is one at Lotherton Hall and one at Fountains Abbey, neither of which are far and both of which have red deer), and as now is about the right time for the rut, there is the chance to gather some really dynamic reference material. I could also persuade actors or performers to learn the behaviour of the deer and film their performance, and perhaps even convince them to operate the puppet at a later date, as my previous experience is that I will simply not be comfortable performing (unless performing with a puppet is somehow liberating, as the focus would not be on me, but the puppet, if I do my job right).
• While my instinct is to keep the designs quite real and natural, I should also experiment, at least in the early design stages, with more surreal, fantastical shapes and styles. I should work more freely and produce, loose, quick silhouettes which push the extremes. Step outside my comfort zone!