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Ilka Schönbein’s work draws from human experiences of pain, aging, birth, memory and loneliness. Where used consciously, the combination of animate and inanimate, controlled and controller can provoke unsettling and profound questions about the nature of our existence.

The performer-object dynamics of contemporary puppetry have become a uniqueĪrtistic tool for the interpretation of the nature of the human being.Ĭontemporary puppet productions are conceived with puppet figures at the center of the dramaturgy with visible live performers. Self. The metaphorical implications of the puppet object, its life, and It brings with it a meta-awareness of the image of self, as it simultaneously creates and destroys the illusion of life.Ĭontemporary western philosophies and psychology haveĬalled into question the concept of fixed personal identity or unified Photo : Marinette DelannéĬontemporary puppetry has brought a new artistic language to theatre to investigate the nature of being alive, being human.

My creativity comes into being where opinions have created human suffering.Įh bien dansez Mainteant. I search in the most profound reaches of the human soul. Keywords: Abrecht Roser, transformation, pain, emotions, human experience, manipulate, dance, object and body Finally the importance of materiality of the puppet and its configuration alongside the performing body are considered in assembling of a unique perspective on being. The inherent tension between the live animator and inanimate object is played out through careful juxtaposition of naturalism and expressive movement, allowing for transformation of images and concepts. The interdependent relationship between puppet and puppeteer is examined as a source of life for both of the puppet and of the content of the work. Using the work of solo dance-puppeteer Ilka Schönbein, this paper explores the depth of meaning that puppetry can bring to theatre when used in combination with the physical body.

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