Puppetry International Albrecht Roser
Institute for String Puppetry -
Performance - Albrecht Roser
The Marionette: Artless
Particularly suitable for
craft instruction in schools
Two weekends, Fryday,
September 24, 25, 26
October 1, 2, 3
10 - 12 a.m. Marionette Performance: Ingrid Höfer,
1.30 – 3.00 p.m. Practical Tips in Production
Technique: Gerhard Bartling
3.00 – 7.00 p.m Sculpture of puppet heads: Michael
Fee: 400 €, inclusive material.
This is an intensive seminar course: Introduction to acting in the
morning; then control, manipulation practica and costumes can be worked on,
Sculpüture of puppet heads
in the afternoon.
The dramatic expressive
transformation of the marionette or mask will be studied before the mirror,
and reinforced through gesture. The particular allurement and grace of a
marionette depends not merely on the performance: aside from a perfected
functionality, the figure must also have theatricality.
The main theme of this
course is the construction of stage-effective heads and hands for a
Head-Shoulder marionette or a Rod-Puppet. Heads will be shaped and hardened
from rigid-foam; hands will be constructed from wood or cane. Further,
instruction will be given on construction and technique of the marionette as
well as the basic fundamentals of its movement. To illustrate this we have a
number of excellent marionettes which can be studied.
Michael Mordo: Sculptor, painter with numerous
exhibits; jazz-musician; marionette constructor; Lecturer in the Puppet Arts
Department, State University of Music and the Performing Arts in Stuttgart.
For the past sixteen years, he has been documenting all of Albrecht Roser's
marionette construction methods and inventions.
Ingrid Höfer: has held workshops at numerous
festivals; at O'Neill Center for Puppet Arts, University of Connecticut; at
PUK Puppet Theatre, Tokio; at International Summer Academies and Master
Classes of Prof. Albrecht Roser in Germany, USA and Croatia; main emphasis on
marionette/mask design, coloring and performance; Roser's Paper-Sculpture
Method; Scarf, and Head-Shoulder Marionettes; has directed numerous
primary-school theatre projects using marionettes and masks.
Gerhard Bartling: studied art at the Merz Academy,
Stuttgart, diploma as graphic designer; 1977 independent commercial and
exhibition designer; six years member of the theatre group "Die
Kulissenschieber" and since 2003 co-operation with Studio Roser on
exhibitions, including "Workshop-Phantasy -- Stage Magic"
celebrating Prof. Albrecht
Roser's 55 years as puppeteer, in the Puppet-Theatre Museum, Bad Kreuznach.
Alice Therese Böhm: born in Stuttgart; began in
1994, as a teenager, to design and perform with her first marionettes;
attended numerous workshops,
including those of Prof. Albrecht Roser. After completing her school
education, she apprenticed as a technician for plastic and rubber, learning
to work with many different materials and construction techniques. She
studied Puppetry at the Ernst Busch School of Dramatic Arts, Berlin and at
the State University of Music and the Performing Arts, Stuttgart. Alice
Therese Böhm has performed and directed numerous productions with her
ensemble FAB-Theater. She has held marionette workshops worldwide and is
Lecturer at the University in Stuttgart. For more about Alice Therese Böhm
and her theatre, go to: www.fabtheater.de
All courses will be held at Studio Roser in
Application & Information: Studio Roser
Participation is limited, so please apply early.
Subject to alterations.
The Academies and Seminars
will take place in Roser's Puppet Studio outside Stuttgart. Participants will
enjoy the remodeled working area with individual work benches and the
intimate training area at the atelier in the countryside, with the panorama
of the Swabian Alb mountains - an ideal place for concentrated work, for an
exchange of ideas as well as a place to enjoy the quiet atmosphere.
Accommodation can be
provided in the apartment built adjoining the studio –
for those who like to work day and night.
Information is subject to change.
Ingrid Höfer: Tel: +49-7151/6046072 &
participants of the Master Class 2004
amazing, and surprising moment, came when I was able to play a puppet i.e.
perform as a second performer, not manipulating but working with the puppet
as an equal. When Albrecht talked about how he worked, I could understand the
concept. But as someone who approaches things technically, I found it
difficult to do. Truthfully I did not think that I would be able to do it
myself in such short a time as five weeks. But then came the late night when
I was working with a large scarf marionette. And I found myself in that
wonderful place of just moving with the puppet and having no plan of what to
do, but just observing the puppet and being amazed at what it was doing. And
even better - the next time I tried to do it I succeeded again!! I had hoped
to grow as a performer and increase my skills while here at the workshop. But
I did not think I would go as far as I feel I have.” (Robin Walsh)
“There is a very
rare moment in one's life when an important step occurs.It is my great
pleasure to have realized such an “Aha” moment during my stay. It was not all
at once, but over a few days in practicing or “exercising” the puppet I have
made, “Tvrtko”. And in this joy I discovered a relationship with the puppet,
and began to understand what it is to listen to him, and let his character
unfold. The number of wonderful things which I experienced here are too many
to write of. I have already gained a wealth of knowledge and feeling from my
experience here, but I feel it is just the beginning”. (Matthew Brooks)
“For the first
time I realize how within simple shapes emotions can be captured – and seen
through movement and lighting. I can look back on all my puppets and see
fully where they lack. I have every desire to implement this new
understanding in all my new puppets, in my teachings of sculpture and in the
way I view art as a whole. I have learned its great that my art comes from an
emotional perspective – and the trancelike gift – and it is the one place
that is all me. I have learned to endure my creative emotions, and will from
now on push my work along the edge, keeping an open mind to all
possibilities. This life is incredible!” (Sarah Frechette)
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