My most recent puppetry adventure saw me working with Vertebra Theatre again, with whom I travelled to Edinburgh Fringe last year to perform in ‘Dark Matter’. My puppet this time: Oscar Wilde.
I joined the cast of ‘At the Heart of Things’, a dance piece inspired by Oscar Wilde’s De Profundis and featuring puppetry, live music and text, in the final week of production. Having worked before with the director, Mayra Stergiou, we felt confident that I would be able to fit in to the show at this stage, and I think we pulled it off!
We performed at the lovely Blue Elephant Theatre in Camberwell, whose brilliant staff were so supportive, I can’t sing their praises enough. During the three days of rehearsals I became acquainted with the puppet, explored its movement vocabulary, and stepped in to the shoes of the previous puppeteer (Mayra, now focusing on directing) while bringing something of my own to the role.
Each new puppet brings its own opportunities as well as challenges. With the Oscar puppet, the puppet itself is a head with a handle on the back concealed under a fabric sleeve or hood, and a big heavy coat with one arm tucked into a pocket and the other free for my hand to go through. Animating the puppet involved using my own body for his body, including my left hand, and using my right hand to control the head. I wore a black balaclava over my own head and tried to tuck it back and down so the main focus would be on Oscar’s head – no mean feat when you’ve got a giraffe neck like me!
The greatest challenge when performing with this kind of puppet seems to be to marry the movement of the right hand (and puppet’s head) with that of the rest of the puppeteer’s body. Keeping my own head still and redirecting all of those movement impulses to my right hand so the puppet’s head moved instead definitely kept me busy! When performing as a puppeteer, I’m used to my own body operating purely in a functional capacity to facilitate the movement of a separate puppet’s body, so this was a whole new ball game for me. During the run I discovered the potential for my free hand (the left one) to communicate how Oscar is feeling to the audience. It provided a sort of subtext to the main story of his movement.
With only four shows animating Oscar I feel my work with him is still very much a work in progress, but then perhaps every piece we create is, whether a role, a play, a story, a painting, whatever. Where would we be if we ever felt we had actually finished? In that instant would we actually kill the thing instead of letting it live and breathe? Either way, I’m looking forward to hopefully spending more time working with Oscar in the future… watch this space!