Philosophy
Puppet Program - Background and Philosophy
Contemporary Czech puppet theatre has achieved extraordinary
results which have been recognized internationally. The dynamic
network of professional puppet theatres which exist in the Czech
Republic demonstrates that children's entertainment is a quite
serious business there. This ongoing effort is based on a
puppetry tradition dating back to the beginning of the
seventeenth century. I would like to bring my knowledge of this
particular Czech heritage to the American public.
I graduated from one of the Czech Republic's oldest and best
known art academies in 1978, with a degree in theatre and
sculpture. I spent the next ten years working as a professional
actor on the Czech stage. In 1989, due to political problems in
my country, I emigrated to the United States. Since then I have
been working on developing a puppet theatre here. During this
time, I have learned English, taught myself carving, and carved
and painted dozens of wooden marionettes, with which I have
performed on the street, at schools, galleries, libraries and at
First Night celebrations and private functions.
My marionettes represent a continuation of the classical Czech
puppet styles, with slight visual modifications toward the
grotesque, in order to convey a greater perceptual richness. I
hand carve all my puppets from wood, in the Czech tradition.
Contemporary American puppet-making uses mainly paper-mache or
fabric as materials, and wooden puppets are rare.
In my work I strive to re-form both the stage and the puppets, by
modifing classical techniques. I am interested in exploring the
possibilities of open space by eliminating the traditional stage.
My experience as a street performer has led me to believe that
the classical form of staging a play puts the spectator into a
passive role. Performing in libraries and schools, I have often
been required to deal with various qualities of space, and have
enjoyed the necessity of changing my approach accordingly. I have
learned that with this immediate contact with the audience the
experience becomes more intense. The performance should happen
literally within the audience. This form of presentation causes
me, the puppeter, to participate direcly as an actor in the
performance, and the emotional impact on the youngest audience is
enormous. Children can touch and talk to the actor-puppets, and
play an important role in co-creating a theatrical form of
reality. The space becomes more of a "happening" than a
traditional dramatic event. I also feel it is important to
demystify the actual functioning of the puppets, so after every
performance I encourage the children to work the puppets
themselves, to show them that puppet-making and performing is
something they could learn to do.