Articles

  • Erudite
    (Vesna Teržan - Art historian, art critic and curator)

    Zlatko Bourek – creator of a very special magical world; almost impossible to compare with anyone from the world of puppetry; rudeness, grotesque, eroticism, sardonic humor and fresh, original forms took root in his performances, and figure theatre was born; a theatre of wonders, yet at the same time a commentary on our cruel reality.   Brown bread, a linen shirt, a house of wood, clean water – what these things represent today, that is figure theatre playing Molière. That was how Zlatko Bourek compared his version of Molière's Imaginary Invalid in 1998 at the Ljubljana Puppet Theatre (LGL); his comparison speaks of basic, simple, primal things that are an inspiration, a message, and a lesson. In those days, Bourek was interested in pre-Brechtian,…

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  • SITE-SPECIFIC THEATRE WITH GIANT PUPPETS
    (Sarah Brown - Fulbright Scholar, Playwright, Actor and Assistant Professor of Performance at the University of Memphis in Memphis, TN U.S.A.)

    It is easiest to explain what site-specific theatre is by describing the methods of an actual site-specific project. Like any artistic endeavor, it should feel a little like “jumping into an abyss”—a phrase used to describe the daring adventure an artist must be willing to take when beginning the creative process. It means, of course, not controlling ideas but listening to one’s intuitive voice, letting images flow and, most of all, daring to journey into the unknown. It is, in many ways, this improvisational element that makes creating something from nothing so exciting and satisfying. Imagine taking such a journey with a large group of people you’ve never met before, coming together with them to write a show in a setting that you’re all exploring for the…

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  • IS THE PUPPET THE SLAVE OR THE MASTER OF THE ROLE CAST FOR HIM/HERSELF?
    (Prof. Dr. Sevda Şener)

    Puppet plays have a specific effect on both children and adults: considering the case from both the child’s and the adult’s point of view, it can be observed that the absolute distance between the puppet figures – which are obviously not the reality itself but the imitations of it – and the audience is flexible; if the story is fictionalized with mastery and performed with skill, this distance extends and the puppet characters can be perceived as real persons.  This renders the puppet plays a characteristic which enables them to move people while making them laugh, and to make them think while touching them. Due to the structure of the play, puppets in the puppet plays hold within themselves the feature of producing laughter as a result of the mechanical quality…

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