Conversation with the dead object: an engagement with post-traditional puppetry, archive and practice

这项为期五年的非全日制奖学金考察了“活的”和“非活的”物体或木偶在表演中的关系。标题指的是动画在非生物和木偶中的内在潜力，而“干预”是动画师(人类或其他人)制造的干扰，引发了一种生活的幻觉。探索物体动画的基本法则，我着眼于记忆、传统、档案以及木偶和物体剧场中死气沉沉的人变得有活力的门槛。核心问题是：一个物体或木偶的内在特征在多大程度上决定了动画(或物体的‘生命’)？-动画的力量决定了动画？-观众的环境决定了动画的体验？上述一般性问题将在团契的最后阶段通过三个不同和具体的实践问题得到解决。第一阶段：已故的乔·比比和Punch and Judy对Punch的调查将形成一个案例，研究传统和当代实践之间的关系(在动画中)，以及木偶和木偶师之间的关系，使用已故的Punch和Judy练习者Joe Beeby的一组木偶。我打算掌握一些Punch套路，并通过与摄影师Rosy Martin的合作来揭示Joe Beeby去年的作品。第二阶段：私人仪式这一阶段的目标是创造一系列‘私人’的表演性接触(但通过电影/网络摄像头链接和现场直播观察)，以分析观众在木偶‘生活’的幻觉中作为合作者的角色。借鉴日本仪式(它为私人的系统性表现提供了一个特定的模型)，以及与同事雷切尔·库珀(Rachel Cooper)的合作，我将把观众与木偶之间的公共关系与动画师与物体之间的私人关系进行比较。库珀有学习障碍，从事大量的私人艺术工作。第三阶段：展示死亡的物体这个阶段由木偶中心信托基金支持，当没有动画时，这个阶段着眼于木偶和物体之间的“活”和“死”之间的阈值。它将协商在数字展览中创造对表演的瞬间碎片化记忆，并促进一种“主动”档案的概念：将展览的创建视为一种“表演性”行为，从而使物品放置与物品的选择同等重要。作为馆长，我会问：悬挂在博物馆里的没有生命的人物如何展示对他们过去的“活力”的荣誉记忆？木偶的死亡或“死亡”的含义如何影响我们对其(前世)生命的感觉？我借鉴了波罗的方法--特别是他对“反对‘根的宇宙’的人物”的断言，这些人物最强烈地反对游牧民族、流浪者和难民。将这一描述与木偶师的形象放在一起，引发了与瞬变和(字面上)动画一样的接地气的问题。因此，木偶戏成为了一个讨论操纵、变形、(重新)呈现和表演等更广泛概念的领域

This five-year, part-time Fellowship examines relationships between the 'live' and the 'non-alive' object or puppet in performance. The title refers to an immanent potential for animation within non-living objects and puppets, while 'intervention' is the interruption that an animator (human or otherwise) makes elicit an illusion of life. Exploring fundamental precepts of object animation, I look at memory, tradition, archiving and the threshold where the lifeless becomes animate in puppetry and object-theatre. The central questions are: to what extent does -an object or puppet have immanent characteristics that determine the animation (or 'life' of the object)?-the animating force determine the animation?-the context of the spectator determine what is experienced via the animation?The general questions above will be addressed in the final phases of the Fellowship through three distinct and specific practice enquiries.Phase 1: The late Joe Beeby and Punch and Judy An investigation into Punch will form a case study of the relationship between tradition and contemporary practice (in animation) and between the puppet and puppeteer using a set of puppets from a deceased Punch and Judy practitioner named Joe Beeby. I intend to master a number of Punch routines and to uncover Joe Beeby's last year through work with photographer Rosy Martin.Phase 2: Private Ritual The goal of this phase is create a series of performative encounters that are 'private' (but observable via film/webcam link and streamed live) in order to analyse the role of audience as collaborator in the illusion of the puppet's 'life'. Drawing on Japanese ritual (which provides a specific model for the systematic manifestation of the private) and working with a colleague, Rachel Cooper, who has learning disabilities and does a great deal of 'private' artistic work, I will compare the public relationship of audience to puppet with the private one between animator and object. Phase 3: Exhibiting the Dead ObjectSupported by the Puppet Centre Trust, this phase looks at the threshold between 'liveness' and 'death' in relation to puppets and objects, when animation is absent. It will negotiate creating momentary fragmented memories of performance within the exhibition of figures and promote a notion of an 'active' archive: viewing the creation of an exhibition as a 'performative' act so that object placement is as important as the choice of objects. As curator I will ask: how do 'lifeless' figures hanging within a museum display honour memory of their past 'liveness'? And how does the implication of the puppet's death or 'deadness' bear upon our sense of its (previous) life?I draw upon the approach of Bourriaud - particularly his assertion of the 'figures that oppose the 'universe of the root', most strongly, the nomad, the wanderer, the refugee.' Positioning this description alongside the figure of the puppeteer provokes questions of groundedness set alongside those of transience and (literally) animation. Puppetry thus becomes a field on which to negotiate wider concepts of manipulation, transformation, (re)presentation and performance