For our final class of the Puppetry Foundation Course at Little Angel Theatre (sob!) we had a go at shadow puppetry. It was a session of cutting, tearing, sticking, trying out ideas and having free reign to create whatever kind of shadow puppet we wanted. I loved it!
Oli Smart took us through the three different items you need – object, light source and screen – and what items work well for each of these. He’d set up a bed sheet for a screen (not his favourite material to use – thin canvas works better) with an overhead projector (OHP) maybe 2 metres behind it, so we could keep trying out our ideas as we were making.
Shadow puppetry is one of those creative forms that many of us have probably had a go at already without realising it’s puppetry. I remember doing class assemblies at school where we would sometimes cut out little characters from black paper and stick a dowel stick to the back, draw scenery on a clear plastic sheet with the OHP pens, then perform short stories projected onto a white wall or screen to the rest of the school. An early taste of shadow puppetry.
In our puppetry class I decided to make a dinosaur. Dinosaurs are cool. Oli said that with shadow puppetry, the less precious you are with what you’re making, the better. There’s no pointing spending hours crafting the perfect details as the audience just won’t see them. So I decided to initially forego the scissors and just tear the paper to make my dinosaur’s head, then used scissors for the finer points like the eye and teeth as I wanted them to look sharp. We attached a dowel stick to our puppets by which to hold them. A split pin created a hinge for the jaw to open and close (the head and bottom jaw are obviously two separate bits of paper), and Oli helped me devise a ‘trigger’ with a piece of string attached to the jaw and dowel, allowing me to operate the puppet and open and close its jaw using just one hand. This took a bit of practice!
My finished dinosaur actually looks considerably like a crocodile too, so make of him what you will!
Telling stories without words. That’s what Speechless Theatre Company do. It’s also something I’m pretty interested in, so the other week I went along to a four-hour workshop the company were running to find out more about their devising process.
The workshop crew
James Callàs Ball and Anthony Cule (aka Speechless Theatre Company) led a small group of us through a super fun warm-up (there was dancing involved), games, some mime, and various activities that called on our imagination, creativity and willingness to just go with it and get stuck in. I’d come straight from my corporeal mime class so was already in the flow, and loved the environment of play that the guys created.
One of the key messages I took away from the day was the importance of keeping things simple and clearly defined – being economical with our movement when telling a story in order to make each movement count towards the narrative or message we are trying to communicate to the audience. I also realised that, just as there are some gestures and movements that seem to be universally interpreted in the same way, you may also find that one particular movement can mean a different thing to each person in the room.
To aid the clarity of storytelling without words, I discovered it’s also important to let each moment land with the audience before moving on to the next. With words we can overlap each other on stage (if the text calls for this) and the story will most likely still be clear, however if we do this with movement it can muddy the story and risk losing the impact of a moment. I can imagine this aspect works in a similar way to exercising good comedic timing – react too early or a beat too late and it won’t quite land with the audience.
It was great fun being in the room with these guys and finding out about their devising techniques, and getting to spend a few hours playing and creating with a bunch of like-minded folks. You can find out more about Speechless Theatre Company at https://speechlesstheatre.com and follow them on Twitter @SpeechlessPlays. Make sure to check out their blog too!
Over our last two puppetry classes at Little Angel Theatre we have been making simple moving mouth puppets. Using electric breadknives to sculpt foam blocks into heads and hot glue guns to stick on eyes, nose and the opening mouth, we created a variety of funny-looking characters.
First came the drawing part. Drawing lots of circles for heads we tried out all different shapes and sizes of nose, and different placement of the eyes and the mouth, drawing first the front view and then profile. You can see in the second pic some of the different combinations I came up with. Next we drew the chosen face onto one side of a foam cube and the profile view onto another side, then used an electric breadknife (I genuinely hadn’t been aware such a thing existed) to sculpt the block into a sort of sphere. (It was a bit more technical than this but the best thing to do is have someone demonstrate it like our teacher Oli Smart did.)
To get rid of any sharp edges we picked away at the foam with our fingers, then smoothed this by snipping away with a pair of scissors. I, however, quite liked the pockmarked effect so decided to keep it. I didn’t manage to get it entirely spherical, but then, whose head is a perfect sphere? We’d probably look pretty funny if it was.
Sculpting a nose from foam – the bigger the better with this kind of puppet – we stuck this on with the hot glue gun (my first time using an electric breadknife AND my first time using a hot glue gun! Playing with the big toys now). The mouth was a bit more complicated – again, it’s best to watch someone do it. We cut along the line we’d drawn for the mouth until we’d basically cut off the head/face below this point, then cut it down at the point where we wanted the mouth to open from. The bottom jaw was then stuck back onto the head by sticking a folded piece of card to both bits with hot glue. No, I’m really not explaining this very well!
For the eyes we dug out sockets then glued polystyrene balls into the sockets and drew pupils on with a marker pen. Many of us finished off our puppets with some fuzzy eyebrows. There were some fantastic bushy black and brown ones, but I opted for making a pair of rather groomed-looking ginger brows. I didn’t get round to making any hair before the class finished, and if we had more time we would cover the foam with felt, but I’m pretty chuffed with him (I think it’s a him) as the first puppet I’ve ever made! At tonight’s class Ronnie Le Drew will be showing us how to make our puppets speak, so hopefully once I find the puppet’s voice I’ll discover more about the character of this little chap.
Following on from my post about the wonderful Scene Gym the other week, here are a few more pics of the event for your viewing pleasure. With thanks to Julia Taylor.
Get a bunch of actors, writers and directors together to have a play with some new writing and you end up with a day of creativity, networking and fun.
On Friday 4th November I went along to Scene Gym, an event organised by actress Julia Taylor, the Artistic Director of Scene Gym, co-producer Tim Cook, and dramaturg and script reader Natassa Deparis. November’s ‘gym’ took place at the Old Vic Workrooms in Bermondsey and workshopped four scripts.
The piece I was cast in was Numeratti by actress and writer Shamiso Mushambi – a fantastic script with a very relevant premise and interesting characters. I played a character called ‘4’, and had great fun playing with the childlike side of me that this character brought out. It was pretty cool having the writer in the room too, though a little nerve-wracking as I’m sure we all wanted to be true to her vision of the piece.
The other cast members included my friend Vicky Winning, who I trained with at East 15, so it was brilliant ‘working’ with her (it’s strange to call something ‘work’ when it feels much more like play!). I also loved meeting the other actors and our director. Mostly, I find actors to be such open people, willing to take creative risks and without a lot of the usual walls people have carefully built up against strangers. The generous spirit of everyone there created a positive and playful environment and reminded me why I love doing this.
It felt great to flex the old acting muscles, and was an exciting opportunity to meet fellow creative folk and hear about their experiences in the industry. Thank you Julia and team for creating Scene Gym!
Last week was fantastic. I went to my first corporeal mime class, had a puppetry class at Little Angel Theatre, took part in ‘Scene Gym’ at the Old Vic Workrooms and attended a one-person storytelling workshop with Little Angel Theatre’s Artistic Director, Samantha Lane.
The mime class was taught by Vini Carvalho of Fool’s Cap Theatre, and was a pure delight. Inspired by the work of companies such as Theatre Ad Infinitum, I was looking for a good mime class when this one popped up on Facebook! We worked on opposing forces (and got very sweaty), different rhythms and learnt an offering sequence. Corporeal mime, or contemporary mime, can be used to choreograph pieces, and it felt so good to be there in a class, learning the moves and practising them in front of the mirror. That’s my comfort zone, right there! It harked back to my ballet days. Vini’s planning on teaching the class every week so it will be great to make it a regular part of my ongoing training.
In the puppetry class at Little Angel Theatre we explored motion, firstly using puppetry sticks and then going on to having a play with some cloth bunraku-style puppets. The sticks are a great tool for puppeteers to practise movement before going on to try it with the puppet itself. I am so getting me some! (Or failing that I might chop up an old broom handle.) Just always check for splinters beforehand!
Friday’s ‘Scene Gym’ was an absolute joy – a bunch of actors, directors and writers all together in a room getting to play with some brilliant new play texts. But more on that, and yesterday’s storytelling workshop, in the next two posts!
Along with the chance to be creative, what made the week really special were all the interesting people I met and had the chance to be creative with. Being in a room full of people who all want to work together and create something together gives me the biggest buzz. I love meeting new people and finding out their story, and actors in particular are generally so open and engaging. It’s also great to hear what brings non-performers to the room, for example in my puppetry class and the storytelling workshop. It’s the people that are the true joy of an actor’s life.
I have a lovely (fake) leather jacket. Perfect for the autumnal weather, perhaps not so perfect for puppetry. It’s got a stiff neck, you see.
Our most recent puppetry class at Little Angel Theatre involved animating our jackets. Oliver Smart led us through the stages of focus – thinking (eg of the clock on the wall), looking at the clock, turning your body towards the clock, then moving towards the clock. We practised this ourselves first before applying it to our puppets.
In order to establish our jacket puppet’s focus we first let the gaze of the puppet follow our finger as it moved around. It was interesting to see how our puppet reacted if the finger came closer and invaded it’s personal space. We kept it simple here with a clear like/dislike or curiosity/boredom reaction. Too complicated a reaction and the puppet’s movement loses its clarity and intention.
Once we’d had a go at the different stages of focus with the puppets, we looked at jumping. Just as with us humans, the puppet’s ‘knees’ (obviously imaginary knees in the case of the jacket) bend, it pushes up into the air, comes back down a little quicker and the knees bend again as it lands. We practised the required amount of ‘push’ – what happens if it doesn’t bend the knees enough? What if it bends them too much and jumps too high or far? Once our puppets could jump on the spot we had a go at bouncing to travel, paying attention to the transfer of weight and keeping it slow and steady. When working with a puppet, Oliver says, its movements should be a little like it’s underwater – not over the top, but steadier and more pronounced than our movements.
My beloved jacket was fun to work with but the softer jackets seemed more suited to the work, so I’m off to a charity shop to get my very own puppetry practise jacket!