Friday, July 17, 2009

Mark Your Calendars


PUPPETRY WORKSHOP
One Day Event on August 14th
10am to 5pm
At the Loogaroo Studio
139 Duke Street, Miramichi, N.B.
506.622.3333

Workshop is limited to 20 participants Max.
Act quick and reserve your place!

Email: gfowler@loogaroo.com

$25

Please Note: This workshop is a condensed but extremely in-depth version of a 5 Day Intensive Puppetry Workshop. The main difference between the two is a lack of time to explore & evaluate performance development of participants through assigned "homework" and requisite presentations. The fundamentals and a course of action to follow after the workshop will allow for continued study, practice and implementation of core materials.

The main focus of the workshop is on Puppetry For Camera. An approach to performing puppets for the camera will be presented in a series of "layers", with each new layer compounding the difficulty of what has come before and at the same time adding to the foundation of knowledge and experience that can be applied to the process.

The entire proceedings will be broken down as follows:

HISTORY & DEVELOPMENT
A history of classical puppetry in all its forms will be given, from ancient Greek & Indonesian sources; through European forms (including mask & live theatre performance); through music hall, vaudeville & silent film; and culminating with the advent of television and the growth from standard presentational styles of television puppetry to a more open form that used the camera frame as the playboard and the benefits of video playback as a tool for evaluation and critiquing the work. Subsequent developments within film and the internet will also be discussed as will comparisons with various forms of animation - classical, stop-motion, flash, CG, etc.

AN AUDIENCE OF ONE
Disposition of the camera as the singular viewpoint for the audience as opposed to the wider arc of a surrounding theatrical audience. Use of the camera frame as playboard. Physical positioning of the performer with respect to camera placement. Physical & visual coordination required to manipulate the image on the screen. Eyeline and focus of the "mask" of the puppet character. Entrances & exits - background & foreground - exploring the physical "space" of the frame. Simple exercises to demonstrate and practice will be provided throughout.

THE PHYSICAL CHARACTER
Defining the extension of the performer as the body of the character. Physical status of the performer reflected through the body of the character. Breath as expression, motivation and impulse. Body language, gravity, eye focus - all of the elements required to convincingly portray a sense of character to the audience and how best to use the performer's relationship to the camera to achieve this. Simple exercises to demonstrate and practice will be provided throughout.

LIP SYNC
Use of the hand to simulate a speaking character. Vowels, consonants, breath, emotion and more are addressed. Combine with previous exercises to complicate matters and highlight flaws, limitations and opportunities. Simple exercises to demonstrate and practice will be provided throughout.

SHARING THE FRAME
Solo composition within the frame. Sharing and balancing the frame with another character. Sharing and balancing the frame with multiple characters. Exploring the wide range of variations available through the relationship between the performer(s) and the camera. Combine with previous exercises to complicate matters and highlight flaws, limitations and opportunities. Simple exercises to demonstrate and practice will be provided throughout.

PUPPETS
All of the above has been done with naked hands and arms. Including the physical properties (advantages & disadvantages) of puppet characters adds yet another layer. Normally we conduct these workshops on our home turf with a pant load of characters to press into service. For this event a limited number of puppet characters will be available for use but we will be able to provide a grounding in understanding how the physical form of puppet characters alters the performance process.

GRAND FINALE
Now, now, that's a surprise!


*** During the sessions the group will use a camera and floor monitors to develop the interaction between performer and camera. Larger monitors allow the group to observe what the on-camera performers are seeing. Video record and playback will be used throughout to evaluate and critique the work.

*** While observers are welcome, it is actual participation in the exercises and demonstrations where the real learning occurs. Every opportunity will be made to have everyone participating get the chance to work in front of the camera.


Q & A
Rob and Karen will answer any questions about any topic related to their work, puppetry, animation, performance, etc. Pick their brains clean!

Workshop is limited to 20 participants Max.
Act quick and reserve your place!


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