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With French Theaters Closed, Puppetry Takes Middle Stage

PARIS — In December, whereas French theaters remained shut due to the pandemic, Hubert Mahela was in a position to carry out his newest present a dozen occasions. The rationale? He makes puppet exhibits for younger audiences, who occurred to be in class — and in want of leisure.

Puppetry, an artwork type usually regarded down on as lowbrow, lo-fi theater, has discovered itself at an unlikely benefit this winter in France. Main and secondary schoolchildren are at the moment the one viewers members formally allowed to attend performances right here, so long as the native authorities grant permission.

“We are able to’t simply work by means of video, with no viewers,” Mahela stated in a latest interview. “It was such a pleasure to know that it’s doable to watch out and maintain going.” He took his one-man present “Lisapo Ongé!,” by which he re-enacts a story from his native Congo with expressive hand-held puppets, to colleges in Fontenay-sous-Bois, a suburb of Paris, and within the northern metropolis of Amiens.

The state of affairs for French puppeteers is bittersweet. Whereas it constitutes a return to their roots, as youngsters stay their most trustworthy followers, a lot of them have labored laborious to place the shape as greater than family-friendly fare. In France, excessive ranges of public funding for the humanities helped puppetry make the transition, within the second half of the 20th century, from a craft handed down in household circles to a well-established sector of the performing arts.

Puppetry even has a capital of types in France: Charleville-Mézières, a former metallurgy stronghold close to the Belgian border. It hosted the primary World Puppetry Pageant in 1961 and have become house to the Worldwide Institute of Puppetry 20 years later.

In 1987, a puppetry faculty, the École Nationale Supérieure des Arts de la Marionnette, or ESNAM, opened. Whereas it admits solely 15 college students each three years, a few of puppetry’s largest names honed their craft there, together with the American artist and director Basil Twist. Different coaching establishments have opened internationally, however in a latest interview on the Opéra Comique in Paris, Twist stated he nonetheless thought of his alma mater “the highest faculty on the planet” for the artwork type.

“France has an infinite community of cultural establishments, one of many largest on the planet, so puppetry was in a position to carve a distinct segment inside it,” the varsity’s director of pedagogy, Brice Coupey, stated in a cellphone interview.

The puppeteer Grégoire Callies had a entrance seat for that improvement. From 1997 to 2012, he directed the primary Nationwide Dramatic Middle dedicated to the shape, in Strasbourg. He’s at the moment on the helm of the Théâtre Halle Roublot in Fontenay-sous-Bois, the place he arrange Covid-averse performances by a number of artists in faculties, together with Mahela’s “Lisapo Ongé!”

“What’s good in regards to the world of puppetry is that the majority productions are nimble, they will go all over the place,” Callies stated at his theater not too long ago. “Whereas theater productions have a tough time arising with large excursions, there’s at all times a risk to work.”

That a lot was clear from “Les Plateaux Marionnettes,” a closed showcase for programmers and journalists hosted on the Théâtre Halle Roublot in late January. Over someday, 5 artists and firms offered brief productions, most of them new. Alongside Mahela’s “Lisapo Ongé!,” a number of branches of puppetry have been represented. In “Hematoma(s),” directed by Cécile Givernet and Vincent Munsch, cutout shapes and shadow lighting have been elegantly woven to inform a narrative of childhood trauma. With “The Forest Doesn’t Exist,” Kristina Dementeva and Pierre Dupont, who graduated from ESNAM in 2017, introduced an absorbing sense of Beckettian absurdity to the musings of two sock animals.

Dementeva, who began working with inanimate objects in her native Belarus, moved to Charleville-Mézières from the Belarusian capital, Minsk, to attend ESNAM. “The varsity may be very well-known amongst puppeteers overseas, and it’s free,” she stated. “Belarus has an incredible underground puppet scene, however there are various extra corporations in France, and extra public help.”

But in a rustic the place sophistication is some extent of pleasure, puppet theater stays on the fringes of the largest venues and festivals. It has earned backing from main figures over time, together with the director Antoine Vitez, who had plans to fold puppetry into the missions of France’s premier stage troupe, the Comédie-Française, when he died in 1990. Nonetheless, Callies believes puppetry hasn’t managed to realize the identical degree of recognition as hip-hop dance or circus, two artwork kinds that channeled modern dramaturgy to bridge the hole with intellectual genres.

“One of many tragedies of puppetry is that the artists who wish to make it erase the phrase ‘puppet.’ They depart it behind,” Callies stated, pointing to its status as a infantile type of expression. “It’s a French neurosis, as a result of should you go to Germany or Italy, adults additionally attend puppet theater exhibits.”

On the flip facet, some puppeteers who’ve moved towards modern theater recommend that French puppetry stays pretty conservative. The famend stage director Gisèle Vienne, who graduated from ESNAM in 1999, stated in a cellphone interview that her work — which is geared towards adults, with advanced material — was largely embraced by dance and theater artists on the time. In 2007’s “Jerk,” she even explored the darker facet of puppetry’s status (from schizophrenic toymakers to murderous puppets) in fashionable tradition.

“The world of puppetry instructed me that what I used to be doing wasn’t puppetry,” Vienne stated. “It’s a extremely extraordinary medium, however I’ve discovered that essentially the most highly effective puppet-based experiments occur within the discipline of up to date artwork.”

But there are indicators that youthful puppeteers are hungry to interrupt down the remaining boundaries between their craft and mainstream theater. The career itself is altering. “It was very masculine. There are much more girls now, who do very attention-grabbing work,” Callies stated.

The productions offered as a part of “Les Plateaux Marionnettes” tackled formidable themes, from household violence to forgotten feminine figures from world historical past (in a spirited workshop presentation by Zoé Grossot, one other ESNAM graduate). The local weather emergency can be a recurring concern amongst ESNAM’s college students, based on Coupey: “Some refuse to work with polluting supplies.”

On the Théâtre Halle Roublot, the sheer pleasure of watching reside theater got here with a way of security. With not more than three performers onstage at any level, and precautions together with masks and social distancing, the danger of spreading Covid-19 appeared as restricted as it might ever be inside an auditorium.

“We are able to even afford to work on a play with 20 characters, as a result of we don’t want 20 actors,” Givernet, the co-director of “Hematoma(s),” stated with fun after the present. Lowbrow or not, puppets are properly suited to this second.

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