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Page 1: Dead Puppet Society 2016
Page 2: Dead Puppet Society 2016

Brochure Design by Sean Dowling

With existing works touring the country, our education program growing exponentially, and our most exciting works to date in development, 2015 was the biggest year yet for all of us at DPS.

But now 2016 is just around the corner, and it promises to take that title.

The middle of the year will see The Wider Earth presented in a co-production with Queensland Theatre Company. A reimagined version of the voyage undertaken by a young Charles Darwin told by a cast of eight with a suite of over thirty puppets, and more than it’s fair share of DPS magic, the show promises to be a spectacle. The seeds for this work were sewn in South Africa while we were working with Handspring Puppet Company, and after the tremendous support of St. Ann’s Warehouse in New York City and Queensland Theatre Company, we are thrilled to see it coming to life.

Throughout 2016 we are continuing our residency with the New Victory Theater in NYC for the final development and rehearsals for Laser Beak Man. The result of our collaboration with Tim Sharp, Sam Cromack, and a multiskilled cast from both Australia

and the United States, the show brings the world of Laser Beak Man to life on stage, and is jam packed full of his trademark sense of humour and great big heart. It’s set to premiere in Australia in late 2016, keep your eyes peeled for more announcements.

As the Society swings into production mode it seemed only fitting to give our workshop program an overhaul to embrace the methods we’ll be using over the next twelve months. We’ve streamlined what’s on offer and broken the program into two streams: Core Skills, covering Performance and Construction, and The Theatre of Images, a brand new offering we’re incredibly excited about that quite literally opens the doors on the Society’s creative process to students, and equips them with the resources to create their own fully realised visual theatre works. We’ve also upgraded our teaching puppets to reflect the new fabrication technology we’re embracing, and for the first time we are making sets available for purchase.

For us 2016 is a year of brand new productions and celebration. Thank you from the bottom our hearts for your continued support. We can’t wait to catch up in the coming year!

With love, Nick and David

Page 3: Dead Puppet Society 2016

Queensland Theatre Company & Dead Puppet Society present.

With a bevy of astonishing puppets bringing to life creatures great and small – from the tiniest longhorn beetle to the majestic southern right whale and the ancient Galapagos tortoise – Dead Puppet Society reimagines the tale of scientific visionary Charles Darwin and his voyage on the HMS Beagle in The Wider Earth.

Come aboard for a magical journey with the curious naturalist, from the dizzying heights of the Andes to the depths of the Amazon rainforest, through the storms of Tierra del Fuego, to the endless wonders of the Galapagos Islands. The supporting cast of humans in this world premiere are no less compelling.

On the legendary voyage, Darwin clashes with the hot-tempered, neurotic Captain Fitzroy and finds a friend in steadfast Scotsman Wickham, the Beagle’s second-in-command, who would go on to become one of Brisbane’s most celebrated early residents and Moreton Bay District’s first police magistrate.

It’s a coming-of-age story about science and faith – and how one doubting young man with a questing heart asked a question of Mother Nature, and found the answer to everything.

HaviNg speNt tHe last couple of years DeDicateD to tHe touriNg of our existiNg Work, We’re DeligHteD tHat 2016 Will see tWo braND

NeW proDuctioNs from tHe society set loose oN tHe WorlD.

9 July – 7 augustBille Brown Studio, The GreenHouse, Queensland Theatre Company

Director/Designer David morton Creative Producer Nicholas paine Composers lior and tony buchen Lighting Designer David Walters Sound Designer tony brumpton Dramaturg louise gough Cast includes margi brown ash, lauren Jackson, thomas larkin & anna straker

The Wider Earth was originally developed at St. Ann’s Puppet

Lab (Matt Acheson and Krissy Smith, Lab Directors) at St. Ann’s

Warehouse in Brooklyn, NY 2014.

This project has been assisted by the Australian Government

through the Australia Council, its arts funding and advisory body.

Funding for The Wider Earth has also been made possible by the

Puffin Foundation Ltd.

Image by David Kelly

Page 4: Dead Puppet Society 2016

Power City is the most beautiful city in the world, clean, pure – perfect; but not by accident. Local hero Laser Beak Man works hard to keep it that way. Drawing energy from the underground Magna Crystals that power the City, his beak has the ability to shoot lasers that turn bad to good. That is until Peter Bartman, evil genius, and Laser Beak Man’s estranged childhood friend, steals the Magna Crystals using the Thriller Driller. Robbed of his super powers, Laser Beak Man must find a way to stop his oldest nemesis from destroying Power City. In a story jam packed with the trademark humor and visual puns that come from his literal interpretation of language, Laser Beak Man is a new visual theatre work by the Dead Puppet Society in collaboration with Tim Sharp and Sam Cromack that explodes with colour and energy.

late 2016Keep your eyes peeled for the world premier of Laser Beak Man in Australia in the second half of 2016.

by David morton and Nicholas paine based on the original artwork and characters by tim sharp Director/Designer David morton Creative Producer Nicholas paine Designer Jonathon oxlade Composer sam cromack Dramaturg louise gough

The work has been developed as a part of the New Victory LabWorks

Artist Residency Program (New Victory Theater, NYC) from 2014-

2016 in association with Tim Sharp and in partnership with Sydney

Opera House, Queensland Performing Arts Centre, Arts Centre

Melbourne and Casula Powerhouse Arts Centre.

This project is supported by Creative Sparks, a joint initiative of

Brisbane City Council and the Queensland Government through

Arts Queensland, and assisted by the Australian Government

through the Australia Council for the Arts, its arts funding and

advisory body. Funding support for this project has been provided by

The Jim Henson Foundation.

Image by Tim Sharp

Page 5: Dead Puppet Society 2016

Image by Dylan Evans

Making use of nothing but household objects and the performers’ hands, Argus transcends from the simple to the sublime as it explores the fragile attempts of a little creature searching for a home in a world where he just doesn’t fit in. Working on principles of found objects and transformation, this quietly touching piece highlights the beauty of an impossible life; one that is full of playfulness, joy and laughter. Argus will expand the imaginations of adults and children alike.

After a successful season with Queensland Theatre Company and a national tour around Australia in 2015, Argus is heading to the northern hemisphere to play venues in the USA through 2016.

“Delightful characters and a story to win hearts all over the world.” (XS Entertainment)

“A unique world of fantasy and illusion.” (4Change)

“It’s a testament to the power of imagination throughout.” (Australian Stage)

25 – 28 JanuaryHelen K. Persson Hall, Kravis Center for the Performing Arts, Florida USA

Director/Designer David morton Creative Producer Nicholas paine Composer John babbage Lighting Designer Jason glenwright Dramaturg richard tulloch Cast includes Nathan booth, leila ghaznavi, betsy rosen & Jon riddleberger

Developed with Brisbane Powerhouse. This project has been

assisted by the Australian Government through the Australia

Council, its arts funding and advisory body. Funding support for

this project has been provided by The Jim Henson Foundation.

An initial development of this work was produced by Vena Cava

Productions in 2012.

Page 6: Dead Puppet Society 2016

for tHe last four years We’ve offereD a spreaD of WorksHops tHat capture DiffereNt elemeNts

of our practice, but iN 2016 We’re DeligHteD to lauNcH a NeW program tHat offers tHe cHaNce

to tie tHem all togetHer, eitHer as a oNe off WorksHop or aN exteNDeD resiDeNcy.

This workshop guides students through a mock creative process that demonstrates the key steps taken by the Society in the creation of new visual theatre works, equipping them with the skills needed to translate text into visual language and access to the resources required to test out their thinking. As a part of this process they will learn about the importance of selecting a poetic starting point, the many forms a visual script can take, staging and design considerations, and rehearsal techniques using the Society’s training puppets. Students will have access to technology allowing them to choose lighting, sound and projection from a suite of stock material to realise the vision they have for their work. Each session will conclude with a short showing of the pieces created.

This workshop can be supplemented with content on Manipulation and Construction by pairing it with the CORE SKILLS workshops (on the next page).

curriculum connections: Drama - Visual Theatre, Contemporary Puppetry and Cinematic Theatre, as well as working with Skills of Drama such as devising, script writing, applying stagecraft, acting (voice and movement) and working as an ensemble.

time: 3hrs + suitability: secondary

Image by Maren Searle

Page 7: Dead Puppet Society 2016

While the Theatre of Images workshop has been designed to give an overview of our practice, the time constraints of a one-off workshop mean that several details of the process need to be predetermined, like a choose-your-own-adventure. However, the structure of this workshop can be extended to become the spine of a residency program, giving students greater creative control over each stage of the process under the expert guidance of one of our facilitators.

Programmed over the course of a unit, our artists can work alongside your students to guide them in the creation of puppet-based works for both assessment and for public showings. This provides an opportunity for your students and the Society’s artists to engage in a creative and collaborative exchange that allows for deeper learning outcomes, higher order thinking and a strong understanding of the style of Visual Theatre and the creative process used by the Society.

Each of our residency programs is individually written and can be tailor made to fit within your time and budgetary constraints while providing access to equipment and knowledge to maximise the scope of our work with your students.

We are able to provide sample models for how a residency could unfold or be programmed in your school.

curriculum connections: Drama - Visual Theatre, Object Theatre and Contemporary Puppetry as well as working with Skills of Drama such as devising, directing, applying stagecraft, acting (voice and movement) and working as an ensemble.

Our workshops and residencies are designed to give you a direct link to the heart of the Society, allowing students and teachers to gain first hand experience in the exercises and

techniques used in both the creation of our own works and the training of our artists.

Seasoned facilitators carefully selected from our core team run all of our workshops. In addition to our established programs, we are also able to work with you to build our areas

of specialty into custom made workshops that more closely fit your needs.

time: flexible suitability: secondary

“This residency has been truly magical. Dead Puppet Society has provided our students with a rewarding creative experience, where ideas were nurtured and shaped into an engaging story with beautiful puppets. Working with DPS has been an awe-inspiring experience for

both teachers and students!” reDcliffe state HigH scHool

“We loved it! The Society was so warm, funny and approachable. The students were instantly at ease. They knew so much about the art form of puppetry and really

communicated that to the students. We enjoyed every moment of it.”all HalloWs’ scHool

“The content, and the way that the facilitator engaged the students had them achieving truly wonderful work. Some kids who are reluctant to tell their stories were very keen to make the puppets their voice. We loved the experience. It was an excellent opportunity for teamwork.”

kiNDoN state scHool

Image by Richard Termine

Page 8: Dead Puppet Society 2016

time: 60-90mins suitability: primary and secondary

Making use of our stock shadow puppets and screens, this workshop places a focus on the specific manipulation techniques used in shadow puppetry to allow students to engage with the stylistic qualities of the form. Students will explore the unique potential of shadow theatre to play with scale and place and learn the importance of clarity of motion. Using these new skills, they will be guided by a facilitator in the creation of a series of short scenes. This workshop is for those who are keen to explore the use of shadow puppetry as a two-dimensional puppet form that offers a unique filmic style of storytelling to the living stage.

curriculum connections: Drama - Visual Theatre, Cinematic Theatre and Contemporary Puppetry, working with Skills of Drama such as devising, improvising, applying stagecraft, acting (voice and movement), working as an ensemble and the Dramatic Elements of mood, place and movement.

p e r fo r m a N c e Wo r k s H o p s

While the performance skills needed to bring a puppet to life are intrinsically related, each form has it’s own unique approach. This suite of workshops cover the

techniques used to manipulate a wide variety of objects. These workshops can be paired with a Construction

workshop to give students the chance to work with their own puppets.

Images by Maren Searle

time: 60-90 mins suitability: primary and secondary

In this workshop students are introduced to the skills that form the core of the Society’s work; the techniques that we use to bring a puppet to life in performance. With a focus on poetic illusion, we introduce the elements of focus, breath and gravity in a series of training exercises using brown paper. Following this, students have the opportunity to work with the Society’s training puppets; wooden table-top puppets custom made for our workshop program, while engaging with more advanced techniques including the manipulation hierarchy and kinaesthetic intelligence. In bringing together these new skills, our facilitator then guides students in the creation of a series of short scenes. This workshop serves as an introduction to puppetry and the skills and techniques covered are widely applicable across different puppet forms.

curriculum connections: Drama - Visual Theatre, Object Theatre and Contemporary Puppetry, working with Skills of Drama such as devising, improvising, applying stagecraft, acting (voice and movement) and the Dramatic Elements of role, focus, space and time.

Page 9: Dead Puppet Society 2016

time: 60-90 mins suitability: primary and secondary

The key performance techniques taught by the Society are widely applicable throughout the world of puppetry. With this new workshop, we are bringing these techniques to the small screen. In this session, students will learn the basic premise behind stop motion animation, and, armed with iPads loaded with an animation app and industry standard stop motion armatures, they will work in teams to make a short animated scene.

curriculum connections: Drama - Visual Theatre, Cinematic Theatre and Contemporary Puppetry, working with Skills of Drama such as devising, applying stagecraft, working as an ensemble and the Dramatic Elements of symbol, mood and tension to create dramatic action and meaning.

film, television and New media (11-12) and media arts (Prep-10) - Design basics (scripts and storyboards), Digital Animation including technology, techniques, production, audiences and interactivity and the Media Arts Elements of working with technology, composition and representation.

c o v e r i N g c o N t e N t t H a t f o r m s t H e b u i l D i N g b l o c k s o f o u r W o r k a s a c o m p a N y, o u r c o r e

s k i l l s W o r k s H o p s a r e av a i l a b l e b o t H t o c o m p l e m e N t t H e t H e a t r e o f i m a g e s o f f e r i N g s ,

o r a s s t a N D - a l o N e s e s s i o N s – W i t H t W o b r a N D N e W o p t i o N s t H r o W N i N t o t H e m i x .

time: 60 mins suitability: secondary

For those looking for something a little different, this workshop serves as an introduction to the more experimental aspects of puppetry. Based on the techniques for imaginative play developed by the Society over the last two years, this workshop expands the notions of puppetry beyond simple built objects and encourages students to think outside the box and explore the limits of theatrical storytelling. Using found objects, their bodies, and simple materials, students are guided through the Society’s elements of puppet poetics, including movement quality, shape, and apophenia, as they create impossible and yet deeply engaging characters that exploit the unique potential offered by puppets in live performance. In this workshop the boundaries between the performer and puppet begin to fade as physical reality gives way to the imagination.

curriculum connections: Drama - Visual Theatre, Object Theatre, Postmodern Theatre and Contemporary Puppetry as well as working with Skills of Drama such as devising, improvising, applying stagecraft, acting (voice and movement).

Page 10: Dead Puppet Society 2016

c o N st r u c t i o N Wo r k s H o p s

While our performance workshops make use of the Society’s training puppets, we also offer dedicated

construction workshops that focus on the skills necessary to prototype and build objects ready for use

in performance. These workshops can be paired with a Performance workshop to allow students to both

create and use their own puppet characters.

time: 60-90 mins suitability: primary and secondary Through the creation of small, three-dimensional puppets, this workshop focuses on various sculptural and mechanical techniques using simple prototyping materials. Students will learn about character design, the importance of the biomechanics of the puppet, the function and fabrication of different joint and hinge types, and experience the value of maintaining aesthetic unity when selecting materials. Either alone or in small groups, they will design and then realise a three dimensional puppet character.

curriculum connections: Drama - Visual Theatre and Contemporary Puppetry, working with Skills of Drama such as applying stagecraft and the Dramatic Elements of movement and role.

time: 60-90 mins suitability: primary and secondary

Placing an emphasis on self-supporting puppet skeletons, and methods for giving them shape and texture, this workshops will introduce students to the unique requirements of puppets built for stop-motion film-making. Working with armature wire and other simple sculptural materials they will be guided by one of the Society’s facilitators from initial design stages, to the fabrication of a performance ready stop-motion puppet.

curriculum connections: Drama - Visual Theatre, Cinematic Theatre and Contemporary Puppetry, working with Skills of Drama such as applying stagecraft and the Dramatic Elements of situation, role and tension to create dramatic action and meaning.

film, television and New media (11-12) and media arts (Prep-10) - Design basics (scripts and storyboards), Digital Animation including technology, techniques, production, audiences and interactivity and the Media Arts Elements of working with technology, composition and representation.

time: 60-90 mins suitability: primary and secondary This workshop focuses on the fabrication of joint types and simple mechanisms and encourages students to experiment with negative space and found materials to add complexity to shadow characters as they are guided through the creation of puppets suitable for use in shadow performance. Using the Society’s training puppets as a guide, students are able to either fully design their own puppet from the ground up, or work from one of our templates.

curriculum connections: Drama - Visual Theatre and Contemporary Puppetry, working with Skills of Drama such as applying stagecraft and the Dramatic Elements of movement, symbol and role.

Images by Maren Searle

Page 11: Dead Puppet Society 2016

In 2016, for the first time in the Society’s history, we are making training puppets available for purchase to schools. Standing 50cm tall, these wooden table-top puppets with machined joints mimic the exact mechanisms used in our productions. Each performance ready puppet ships with spare parts, a toolkit and instructions for puppet maintenance. Additionally, all parts are interchangeable to make way for a suite of heads, limbs and torsos that will be released periodically to allow for further customisation.

get in touch to place an order today!

The Society regularly facilitates professional development workshops for teachers wanting to include

puppetry and visual theatre in their work programs. Giving an overview of the work of the company and

delving into ways to incorporate a study of Contemporary Puppetry, Visual and Object Theatre into the classroom, our professional development workshops can be tailored to give you the skills to confidently deliver a new unit of

work or to refresh an existing unit with new concepts and technologies collected and developed by the Society. These workshops can be run with small groups or one on

one and are available year round.

W e a r e a l s o a v a i l a b l e t o a s s i s t i N s t r u c t u r i N g W o r k p r o g r a m s

a N D a s s e s s m e N t i t e m s .

Contact us for more information.

Email [email protected] Web www.deadpuppetsociety.com.au

Page 12: Dead Puppet Society 2016

Artistic Director David morton Executive Producer Nicholas paine Artistic Associate Helen stephens Technical Manager samuel maher Resident Sound Designer tony brumpton Puppet Captain anna straker Education Consultant annette box

Email [email protected] Skype deadpuppetsociety Web www.deadpuppetsociety.com.au Facebook facebook.com/deadpuppetsociety Twitter @deadpuppets Instagram deadpuppetsociety