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

这个为期五年的兼职研究项目旨在研究“活的”和“非活的”物体或木偶在表演中的关系。标题指的是非生命物体和木偶内在的动画潜力，而“干预”是动画师（人类或其他）制造的一种生命幻觉的中断。探索物体动画的基本原则，我着眼于记忆，传统，存档和在木偶戏和物体戏剧中无生命变得有生命的门槛。核心问题是：一个物体或木偶在多大程度上具有决定其动画（或“生命”）的内在特征？-动画力决定动画？-观众的环境决定了他们通过动画体验到什么？上述一般问题将在奖学金的最后阶段通过三个不同的和具体的实践调查来解决。对Punch的调查将形成一个关于传统与当代实践（动画）之间关系的案例研究，以及木偶和木偶师之间的关系，使用一组来自已故Punch and Judy从业者的木偶，名为Joe Beeby。我打算掌握一些Punch例程，并通过与摄影师罗西·马丁的工作揭开乔·比比的去年。第二阶段：私人仪式这一阶段的目标是创造一系列“私人”的表演遭遇（但可以通过电影/网络摄像头链接和直播观看），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（它为私人的系统表现提供了一个特定的模型），并与同事Rachel Cooper合作，她有学习障碍，做了大量的“私人”艺术工作，我将把观众与木偶的公共关系与动画师与对象之间的私人关系进行比较。第三阶段：展示死去的物体由木偶中心信托基金会支持，这一阶段着眼于木偶和物体在没有动画的情况下的“活”和“死”之间的界限。它将在人物展览中创造表演的瞬间碎片记忆，并促进“活跃”档案的概念：将展览的创作视为一种“表演”行为，因此物体的放置与物体的选择一样重要。作为策展人，我会问：挂在博物馆里的“死气沉沉的”人物是如何展示他们过去“活着”的荣誉记忆的？木偶的死亡或“死亡”的含义如何影响我们对它（前世）生活的感觉？我借鉴了布里奥的方法——尤其是他对“反对‘根源的宇宙’的人物的断言，最强烈的是，游牧民，流浪者，难民。”将这种描述与木偶操纵者的形象一起定位，引发了与短暂性和（字面上）动画一起设置的接地性问题。因此，木偶戏成为一个领域，在这个领域中，人们可以就操纵、转换、（再）呈现和表演等更广泛的概念进行谈判

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