About UNIMA International

The Union Internationale de la Marionnette (UNIMA) is the oldest international theatre organization in the world with 6000 members in 100 countries. The organization represents an incredibly strong and diverse network of passionate artists, researchers and educators working in over 100 countries. Every four years, representatives from member countries convene  – there will be a strong Canadian presence at the 2020 UNIMA World Congress and the World Puppetry Festival to be held from April 13 to 19 in Gianyar, Bali (Indonesia)

Fall Journal editor: Pam Moore

Newfoundland & Labrador update 

News from Corner Brook: Tara Manuel, Shadow Souls Inc.

Tara reports that she introduced her new work-in-progress recently at CBNuit – Corner Brook’s nighttime art festival.  She’s also shared news that her new touring show, The Lady of the Falls, has been offered a grant from Arts NL’s school touring program to tour to ten schools on the central north coast of Newfoundland in the spring.

New Brunswick update

News from Fredericton: Grey Rabbit Theatre Company

Laura-Beth Bird is a graduate of the Mermaid Institute of Puppetry Arts Animotion program. She recalls her first visit to Mermaid Theatre in December 2018 when she spent a week in residency at the Mermaid Loft with the goal of seeking advice about puppet construction. Her experience convinced her to enroll in Animotion with the aim of attaining formal training in in a professional setting. She subsequently launched Grey Rabbit Theatre Company’s Caravan project.

“We’ve done a small show in Moncton at the Kreativ Children’s Festival. A brand new, children focused event held at the Aviner Center hosted by The School of Atlantic Ballet. The Company has also performed two shadow puppet shows at the Beaverbrook Art Gallery Family Day and The Fredericton Public Library. We have also worked in residency with Solo Chicken Productions at the Fredericton Arts Alliance Casemates. 

Photo credit: Miguel Roy The performers are myself Laura-Beth Bird and Brenna Gauthier. The show is Gullywhump written by Greg Everett and Directed by Miguel Roy for the NotaBle Acts Theater Festival.

It’s slow going, life gets in the way, (was in England for the last few weeks) but work is starting to come out into the public sphere now. The two puppeteers and solo chicken performers I have been using are Naomi Thais Mercedes Mcgowan and Dustyn Forbes. Both are physical theatre trained but have taken to puppets like a duck to water.

Other than that, I have been hired more frequently to direct new shows with puppet elements and was able to use it predominantly at the notable acts theatre festival. The one acts featured a monster, and I got to be that monster.

The performers are myself and Brenna Gauthier. The show is Gullywhump written by Greg Everett and Directed by Miguel Roy for the NotaBle Acts Theater Festival. Photo: Miguel Roy

On the personal employment side, I am currently the Theatre Teacher at the School of Atlantic Ballet, so that’s pretty neat. I work with over 100 students and community members each quarter with summers for my own research and development; couldn’t have asked for a better gig right now. I also teach workshops on the side with the occasional freelance set or prop building.”

Nova Scotia update

News from Halifax: Theatre du Poulet

Settle Elsewhere is an innovative and timely new production by Theatre du Poulet.  Combining character mask, site- specific performance and documentary theatre with live music, Settle Elsewhere explores the wide scope of stories and day-to-day struggles faced by immigrants to Canada. Beginning at the historic Pier 21 Museum of Immigration, this immersive piece will take the audience on a journey to locations around Halifax, giving a glimpse into the rarely shared daily lives, stories, and experiences of those who are coping with the heartache of leaving home and the challenges of settling elsewhere.

The show’s director notes:

“We have worked hard to maintain some exciting surprises in this show, so, please allow… NO SPOILERS… to be shared with those who have yet to see Settle Elsewhere.”

Theatre du Poulet was founded by Carmen Lee (Executive Director) and Chun Shing Roland Au (Artistic Director) in 2016. Originally from Hong Kong, they relocated to Nova Scotia in 2015. After living and working at the Ross Creek Centre for the Arts, and Roland’s participation in Mermaid Theatre’s Animotion program, they set about to launch their our own theatre company.

Theatre du Poulet is the first theatre in Nova Scotia that is operated by Asian immigrants. Their stated interests interests lie in connecting political and social issues with art and using puppetry and physical theatre as a language-free method to reach the widest audience.

The Mermaid Loft – Windsor, NS

 Jim Morrow, Mermaid Theatre’s Managing Artistic Director oversees the Mermaid Loft’s unique mentoring program.  His annual report (2018-2019) summarizes a busy year:

“We experienced the busiest schedule to date with six individuals and companies residing in Mermaid’s Theatre Loft, having travelled from across North America to receive training and mentoring in aspects of puppetry construction, manipulation, play creation, process development, and organizational planning.

Participants included: Three Gallows Theatre (Oregon); Struan Robertson/Michelle Urbano (Windsor/Toronto); Laura Stinson (Halifax); Jenny Rogers (Michigan); Laura-Beth Bird (Fredericton); and Steve Day (Montreal). We are currently welcoming new participants and negotiating with a number of others who we expect to travel to Windsor in the season ahead.”

Notes from Loft Participants:

The Mermaid Loft most recently welcomed Kaitlin Morrow, a Mermaid alumna and a dynamic multi-faceted performer with the Toronto-based Fringe favourite Sex-T-Rex theatre company. She shared her thoughts about her recent experience.

“I had a wonderful time during my residency at The Loft. I was commissioned to design and build many puppets for an upcoming project in Toronto and it was great to get away from the distractions and noise of the big city and to have the privilege of breathing fresh air while working in such a beautiful and quiet part of the country. Mermaid Theatre’s Loft program provided me with my own studio, access to tools and resources and most importantly, mentorship from Mermaid’s expert staff who helped me develop my ideas and hone my skills. The most remarkable thing about this program is that these services are offered without charge to emerging artists. I would highly recommend The Loft to any puppeteer looking to advance their craft.”

Logan Robins of Halifax followed his participation in the 2019 Animotion sessions with a recent residency at the Mermaid Loft.

Here are his comments about an ambitious project:

“After the lofty proposal of an original extinction -themed puppetry show for Halifax’s Nocturne Festival, I knew that I would need a lofty solution. After spending a week in the Loft engaged in building, tearing down, re-building and experimenting, I was able to craft prototypes of three different creatures. Since the residency I’ve been hard at work sharing the puppets and their stories at galas, recording music and stories to accompany the performance, and writing the script. My stint at the  Loft  has allowed me to build on lessons learned, and to create bold, engaging, and innovative puppetry to share with the masses. What the Owl said to the Orangutan will premiere (one night only) October 19th, 2019  at the Propeller Brewery 6pm-midnight.. Watch for next steps!”

The Institute of Puppetry Arts – Windsor, NS

Notes from Struan Robertson, Director of Director of Education and Outreach

The Institute of Puppetry Arts at Mermaid Theatre of Nova Scotia engages the community by providing unique creative and educational opportunities for participants of all ages and abilities. Diverse programming fosters the growth of personal skills and confidence, as well as facilitates positive social interaction in a safe and nurturing environment.

Some examples of the Institute’s well-received community-based activities range from sessions directed to preschoolers (and their parents), outreach workshops at elementary and middle schools throughout the immediate region, and Puppet Nights for Grownups at which we partner with Windsor- based enterprises such as Schoolhouse Brewery to provide both fun and instruction with a local spin.   The YouTheatre puppet sessions offer local adolescents a voice to share their own stories, as well as provide access to arts programming not generally available in rural Nova Scotia.  In the season ahead, the Institute hopes to offer instruction to Seniors.

With the launch of the Institute’s attractive storefront studio, the community now enjoys enhanced opportunities to explore the world of object movement while reaping the benefits of personal and collective creative endeavour.

About UNIMA Atlantic:

The Atlantic Canada Puppetry Association /Association des marionnettistes du Canada atlantique)

Don’t forget that the ACPA/AMCA members are encouraged to send updates about your puppetry-related activities in the region.

You can send them to acpa-amca@mermaidtheatre.ca for inclusion in a future Journal. Submissions can be in either English or French (or both!).

UNIMA Canada maintains an excellent website, with updates, events, and interesting stories from the world of puppetry. It is online at unimacanada.com The ACPA/AMCA maintains this blog/journal, as well as a Facebook Page: facebook.com/UNIMAAtlanticCanada

About UNIMA International

The Union Internationale de la Marionnette (UNIMA) is the oldest international theatre organization in the world with 6000 members in 100 countries. The organization represents an incredibly strong and diverse network of passionate artists, researchers and educators working in over 100 countries. Every four years, representatives from member countries convene for the congress and World Puppetry Festival – the 2020 event will take place in the Gianyar regency of Bali, Indonesia from April 13-19. Mark your calendars!

Don’t forget that the ACPA/AMCA members (under the umbrella of UNIMA ATLANTIC) are encouraged to provide updates about your puppetry-related activities in the region. Send your news to acpa-amca@mermaidtheatre.ca for inclusion in a future Journal. Submissions can be in either English or French (or both!).

Spring/Summer  Journal editor: Pam Moore

Newfoundland & Labrador update

News from Corner Brook: Tara Manuel, Shadow Souls Inc.

After a sold -out tour of the island’s Arts and Culture Centres, we are preparing for Labrador leg of The Lady of the Falls provincial tour. We will be performing in May at the St. Lawrence O’Brien Arts Centre in Goose Bay and at the Arts and Culture Centre in Labrador City. I will also be leading workshops in puppetry performance soon as we get back to the west coast of NL, Louise Gauthier and myself will be heading to the small coastal community of Wesport to undertake an Arts Smarts project with the students at the K-12 school, (population 25 students!). We are planning to introduce the students to puppetry performance and to create a short puppet theatre piece based on some local folklore.

Recently artists in Newfoundland and Labrador undertook a letter writing and social media campaign to request that our government increase budgetary funds to ArtsNL, our professional arts granting body. Our government has now released their Cultural Action Plan as well as the new budget, and we were very pleased to see that ArtsNL will receive an increase of one million for grants to artists and organizations. We will go to the polls in a few weeks. We’re hoping that the budget will subsequently be passed, resulting in significant increase in ArtsNL’s budget (from 1.9 to 2.9 million for grants)…that would be good for NL puppetry!

I was surprised to discover that when the Minister of Culture, Christopher Mitchelmore, released the Cultural Action Plan last week, the above image was on the cover!

New Brunswick updates

Moncton 

Une performance hors normes par le théâtre l’Escaouette:  12 interprètes, des projections multimédia sur un gigantesque écran, un décor unique, des musiciens sur scène, des marionnettes contemporaines et un lieu pour un voyage temporel.Winslow offre un regard historique très moderne et percutant sur l’Histoire. Le colonel John Winslow, chargé de déporter les Acadiens de Grand-Pré, voyage dans le temps à la découverte des Acadiens d’aujourd’hui, pour des rencontres hautement improbables visant à faire table rase du passé. Le spectacle a eu lieu à Moncton du 5 au 14 avril à guichet fermé. Les marionnettes sont signées par Pierre Robitaille de Pupulus Mordicus. Pierre est maintenant à Moncton pour offrir un atelier donné par Satellite Théâtre le 5 mai. Pour plus d’info  : info@satellitetheatre.ca  Texte: Herménégilde Chaisson.

An out of the box experience by théâtre l’Escaouette : 12 performers, multimedia projections on a giant screen, a unique set design, musicians on stage, contemporary marionettes, live cameras shooting in a venue specially refitted for a time travel. Winslow offers a contemporary and impactful look at History. Colonel John Winslow, in charge of deporting the Acadians, travels through time to discover today’s Acadians in highly improbable encounters. Playwright: Herménégilde Chaisson.  (Sold out performances in Moncton, NB April 5 – 14, 2019)

Fredericton

Fredericton Puppeteer wins scholarship to ANIMOTION

In the spring of  2019, UNIMA Atlantic launched a new career initiative to emerging puppetry artists with creation of a scholarship for the Institute of Puppetry Arts professional training program known as ANIMOTION. Open to Canada-wide members of UNIMA, the inaugural recipient was Laura-Beth Bird of Fredericton NB, who made her way to Mermaid Theatre of Nova Scotia from April 25-May 3 to complete the three-week Intensive. She was introduced to six different forms of puppetry under the guidance of Jim Morrow and Struan Robertson.

Laura-Beth began the challenging task of creating a hand puppet show in Fredericton last fall. Her new troupe, Grey Rabbit Theatre Company, plans to perform for young during the summer months across Atlantic Canada.  Laura credits the Animotion training for providing the building blocks needed to carve a career  in the puppetry world by enabling her to take the first steps in the creation of captivating work.

When asked about her journey to date,, Laura-Beth remarked that “it’s one thing to have an idea, and it’s another to bring it to life.” She recalls her first visit to Mermaid Theatre in December 2018 when she spent a week in residency at the Mermaid Loft with the goal of seeking advice about puppet construction. Her experience convinced her to return to begin the process of formal training in in a professional setting.

Photo: Logan Robins

Students from across North America convened in Windsor NS to learn the craft. Laura-Beth Bird was one of twelve theatre professionals who completed the 11th annual Institute training program. She expressed her thanks to Jim Morrow and the team of Mermaid for their continued mentorship, as well as to UNIMA Atlantic and UNIMA Canada for their support  and their dedication to the puppetry arts.

Nova Scotia update

News from Truro: Maritime Marionettes

Maritime Marionettes, based in Truro, NS,  reports a full calendar of shows and workshops thoroughout Nova Scotia’s school system.  They’ve offered Introduction to Puppetry workshops as well as puppet construction sessions for approximately 1,250 individual classes during the past 5 years. Both students and their teachers have been highly inspired by the marionettes and are even more in tune with the art form when they’ve had the opportunity to see a performance after the workshop.

The company’s creators, Darryll and Heather Taylor, have been strongly focused  on staging and creating new ways of presenting. For many years they have brought their respected marionette theatre to the soft seat theatres, halls and gymnasiums. With the introduction of their new Cabaret stage (shown in photo) they can now perform at banquets, musical concerts and participate in variety shows.  A further initiative this summer will be the addition of outdoor performances, with the introduction of their new new gypsy wagon styled caravan theatre currently under construction.  Fall plans include an upcoming tour of several communities in as featured artists in Northern Ontario’s Children’s Series.

News from Windsor: 

Mermaid’s Institute of Puppetry Arts attracts fans at home and abroad. 

With an inviting new storefront studio, a considerably expanded program of instruction and the appointment of a talented Education and Outreach Director, Mermaid’s Institute of Puppetry Arts is quickly earning recognition as a major Canadian initiative.

For many years, Mermaid’s Institute instructors have been warmly welcomed in worldwide locations, with workshop frequently offered in conjunction with Mermaid Theatre of Nova Scotia’s global touring.  Closer to home, the Institute’s broad array of programs directed to puppetry fans of all ages and levels of proficiency is attracting diverse participants. The ambitious roster of courses, unique in Canada, includes a revitalized YouTheatre for adolescents, sessions for Grown Ups (featuring libation and music), workshops for youngsters in both school and studio settings,  pre-and post-performance workshops following family audience programming at the Mermaid Imperial Performing Arts Center, and the highly respected professional-level intensive, ANIMOTION, which is now accepting registrations for 2020.

About Struan Robertson, Mermaid’s Education & Outreach Director

Struan graduated from Bishop’s University in Lennoxville, QC with a Bachelor of Arts in Theatre and Fine Art.  At Bishop’s he studied puppetry under the direction of Tim Gosley, and further refined his skills as an ANIMOTION participant. He joined Mermaid as a touring artist in 2008, and performed with the company throughout Canada, the United States, Hong Kong, and Macau.

Struan became a full-time production employee in 2011 and has subsequently been responsible for assisting in production design, and creating transformative sets, props, and puppets. Simultaneously, his unique skills as a teacher have made him a much sought-after instructor whose imaginative workshops using found-objects have delighted hundreds of children (as well as their parents and teachers) in Nova Scotia and in China. Struan was promoted to his current position of Director of Education and Outreach for the Institute of Puppetry Arts in 2018, and looks forward to implementing new and creative programs for local, regional and international students of puppetry.

Struan Roberston outside the Institute

Twelve Participants Complete Xl ANIMOTION Intensive

Animotor Alynne Sinnema

Mermaid Theatre of Nova Scotia launched the Institute of Puppetry Arts in 1998 with the aim of promoting and enhancing the art of puppetry both at home and abroad. Classes, workshops and demonstrations, both in-house and through outreach sessions, are tailored to the specific needs of family participants, teachers, recreation leaders, theatre professionals and industry.  The ANIMOTION Intensive was created to provide a platform where professional and pre-professional performers, and others, would explore the art of puppetry and related object movement techniques in a nurturing and challenging environment. Response to initiative has been tremendous with interest coming from all over North America.

Animotor Jonah Campbell

During the three-week intensive held from April 15-May 3, 2019, twelve participants are offered the opportunity to glean as much knowledge and technical skills as possible though a series of carefully designed exercises, independent and collaborative scene work, and the development of finished pieces using puppets designed and built by the participants themselves, who came from Edmonton, Halifax, Montreal, Fredericton, and Saginaw, Michigan

The Mermaid Loft, Spring 2019

In addition to her participation in the Institute’s Animotion program, Jenny Rogers of Saginaw, Michigan return to the Mermaid Loft  for several weeks in the spring of 2019 to continue work on her  her puppet theatre project, Sophie’s Gift. Pictured here are Jenny’s experiments with flourescent paints to assess their effect on her principal character puppet (Sophie) .

Jenny Rogers and Sophie

About UNIMA International

The Union Internationale de la Marionnette (UNIMA) is the oldest international theatre organization in the world with 6000 members in 100 countries.   The organization represents an incredibly strong and diverse network of passionate artists, researchers and educators working in over 100 countries. Every four years, representatives from member countries convene for the congress and World Puppetry Festival  – the 2020 event will take place in the Gianyar regency of Bali, Indonesia.  Mark your calendars!

Don’t forget that the ACPA/AMCA members are encouraged to send updates about your puppetry-related activities in the region.  You can send them to acpa-amca@mermaidtheatre.ca for inclusion in a future Journal. Submissions can be in either English or French (or both!).

UNIMA Canada maintains an excellent website, with updates, events, and interesting stories from the world of puppetry. It is online at unimacanada.com

The ACPA/AMCA maintains this blog/journal, as well as a Facebook Page: facebook.com/UNIMAAtlanticCanada

Summer Journal editors: Pam Moore and Julia Dunn

Newfoundland and Labrador Update

News from Tara Manuel, Shadowy Souls Inc.

I am very pleased to share that after a successful debut performance, my recent puppetry play for all ages, “The Lady of The Falls”, has been offered a provincial tour of NL’s Arts and Culture Centres during the winter of 2019.

The play was created during a residency at the Corner Brook Arts and Culture centre in 2017/2018 by myself and a team of local NL artists including Michael Rigler (Artwork and shadow puppets), Michael Waller (Director and Chair of Theatre at Grenfell Fine Arts – MUN), performers Louise Gauthier and Adam Brake, and editor Lou Macdonald.

We headed up to the tip of the island in md-June to perform the show in The Iceberg Festival – to test the road worthiness of my set!  I’ve been awarded a grant from ARTSNL to further develop the piece prior to the ACC tour, to add a proper climax scene, and refine some elements of the story.

I’m also thrilled to share that I’ve been awarded a grant from ARTSNL to attend The New England Puppetry Intensive in Massachusetts this summer. The fifteen- day intensive, taught by founding members of The Old Trout Puppet Workshop, focuses on puppetry performance techniques and also includes a studio element, during which I hope to begin creating a new solo puppetry work.

Here’s a link to some info about the NEPI: http://www.newenglandpuppet.org/index.html

And here’s a picture from my show with my Lady:

Image: The Lady of the Falls

Note: Tara Manuel is a performer, puppeteer, and writer. Tara is the 12^th child from a family of 15 children from the west coast of Newfoundland. She is a graduate of The National Theatre School of Canada, and worked as an actor in various Theatre, Film, and TV productions in Canada, the US, and Europe before returning to Western NL in 2000.

New Brunswick Update

Théâtre Alacenne

Le Centre de ressources familiales du Grand Moncton au Nouveau-Brunswick a fait appel au Théâtre Alacenne ( Anika Lirette) pour développer un nouveau projet de marionnette en 2018. Ce personnage (en développement sur la photo) aura comme objectif de rejoindre les six centres de la région dans les deux langues officielles. Sous forme de bande sonore narrative et de manipulations spécifiques par l’entremise des conseillères sur place, des thématiques auprès des jeunes de 3 à 5 ans seront abordées. Le Théâtre Alacenne travaillera à former les conseillères dans sa manipulation pour que la marionnette devienne un outil de communication essentiel. Une trame sonore est en composition pour déterminer la personnalité de ce nouveau personnage. Ce projet est financé par le gouvernement provincial et on souhaite que ça fasse une suite pour les autres régions de la province.

Pour plus d’informations veuillez rejoindre: theatrealacenne@gmail.com ou visitez www.theatrealacenne.com.

Nova Scotia Update

Ross Creek Centre for the Arts

The Ross Creek Centre for the Arts in Canning, NS recently hosted a puppetry residency as part of its Breaking Ground Residency series supported by the Canada Council for the Arts. Working with a range of artists interested in construction, manipulation, and public interaction with puppets, the focus of the residency was on the potential of cardboard and other found objects, which could inspire our community to think of puppets in the new way. The residency was facilitated by Montreal-based Zach Fraser, and involved Sébastien Poissant Labelle (Nova Scotia), Brian Riley (Nova Scotia), Laura Stinson (Nova Scotia), Chun Shing Au (Hong Kong and Canada), and Christopher Peck (US). The residency examined the local community and settled on creating what are commonly thought of as pests in an agricultural setting, creating dynamic and engaging puppet pests along with a farmer. The week also included a research and field trip to Windsor’s Mermaid Theatre of Nova Scotia and culminated in participation in the 86^thannual Apple Blossom Festival Grand Parade, where coyote, skunk, raccoon, eagle, and ticks thrilled the parade-watchers. Ross Creek was delighted to offer this residency and opportunities for puppet exploration and community-building and hopes to make it an annual program, along with other opportunities for individual and collaborative independent puppet residencies with studios, accommodation, food, and thanks to Christopher Peck, cardboard puppet-making workshop supplies.

Website: www.artscentre.ca

Théâtre du Poulet

Théâtre du Poulet has been engaged in honing their production of The Extinction of Hong Kongerswith support of the Arts Nova Scotia and the  Canada Council for the Arts. The work-in-progress was staged on Saturday, June 9, 2018 at the Ross Creek Centre for the Arts prior to heading for the Festival circuit in Toronto.

Hong Kong natives Chun Shing (Roland) Au and Carmen Lee, creators of the work, sharea passion for theatre and puppetry arts with a message for environmental awareness. After travel to Ireland and Canada, they have settled in Halifax, Nova Scotia.
The Extinction of Hong Kongers is a 40- minute puppetry & documentary-style production. A first version was performed in 2017 – twenty years after the United Kingdom handed sovereignty of the city to China. The play explores the ongoing tensions between Hong Kong’s pan-democrats and the Chinese authorities, and examines whether the promise of “one country, two systems” has been realized.

With the use of recycled materials and cardboard, audiences are offered a glimpse of the past, as performers build the old Hong Kong. Subsequent scenes use puppetry to portray how Hong Kong’s unique culture faces erosion and possible extinction.

Notes from Struan Robertson, Education and Outreach Director, Mermaid Institute of Puppetry Arts 

In addition to my duties as production associate at Mermaid, over the past seasons I’ve been increasingly involved in promoting the art of puppetry through a myriad of outreach activities. And while it has certainly been stimulating to work with children and their families in the People’s Republic of China, I equally enjoy the opportunity to share my skills and enthusiasm for bringing inanimate objects to life in rural centres closer to home. This was the case in the spring of 2018 when I spent three weeks working with students and staff at Lakefront Consolidated Elementary School in Tangier, NS.

The tiny community, now formerly administrated by the Halifax Regional Municipality, is reached by travelling on a rural highway, Route 7. The town has limited amenities. There are two churches, a post office and a fire station with an attached hall. The school was originally built in 1954, expanded in 1963, and serves students – thirty in total – from grades primary through six. It’s the oldest remaining school building on the Eastern Shore of Nova Scotia, and its days are numbered.

The residency was my third, and proved to be especially meaningful as all those involved will soon continue their education by being bussed to larger centres. The fully engaged staff was eager to celebrate rather than mourn the loss of their unique fellowship by creating a series of collaborative theatrical pieces. I was honoured to oversee the project, particularly as the students already had an understanding of puppetry and object movement. We were able to build upon knowledge garnered from our earlier work together, as well as benefit from the participants’ demanding four-hour road trip to Mermaid’s headquarters where they marvelled at a preview performance of our new ‘black light’ puppetry production, The Rainbow Fish.

We began with a daylong introductory planning session, where we explored possibilities for design and content. To help motivate the students, we studied images of various puppetry styles reflecting differing cultures and historical periods. We watch puppet videos to encourage awareness of broader approaches beyond ‘muppets’ and marionettes. Students were introduced to basic movement techniques including breathing and focus through fun exercises.

I was fortunate to be granted six full days at the school but we still had a few interruptions necessitated by fluoride treatment and gym class. For the sake of expediency, as well as to reflect age-related skills, we divided the participants into three groups with each choosing a theme. The younger pupils (primary through grade two) were assigned the Aesop fable, The Shepherd Boy, which became The Shepherd Girl. Grades three to five were inspired by music, and focussed on the Jurassic Five instrumental track, What’s Golden. The seniors in grade six were challenged to develop their own original stories and chose two – Jungle Walk and Two Bunnies.

Days Two and Three were devoted to puppet and set building. Each participant created an original puppet, with a base built of cardboard and ‘found’ (i.e. recycled) materials used for decoration and texture.

Day Four was Play Day. We were introduced to each student’s puppet, with the creator answering questions about characteristics such as age, provenance, and rationale for inclusion. The responses provided clues as to how the puppet might most effectively be manipulated, and exercises were devised to teach puppet ‘language’ and movement.

Day Five was dedicated to the challenge of blocking, the theatre directing technique in which the students learn to map out their movement and position on stage. The session marked the first time all the puppets appeared on stage together and began to work as an ensemble.

Day Six was set aside to showcase our efforts. Each group had a short rehearsal period where we ran through the show and worked out segments that needed a little help. After lunch the whole school rehearsed together, providing a first opportunity to see one another’s work. Our final event, the evening Puppet Showcase was a highlight, shared with approximately eighty friends and family members who joined us to help celebrate the art of puppetry.

It was one of my most memorable teaching experiences, largely because of the outstanding collaborative support of the principal and teaching staff. Their eagerness to ensure that their young charges would have a rich learning experience despite their physical isolation is highly commendable – and ultimately life changing.

Mermaid Theatre of Nova Scotia Returns to China

Mermaid Theatre’s unique adaptations of children’s storybooks have delighted more than six million spectators in nineteen countries on four continents. The enthusiastic response to the company’s first showcase appearance at theShanghai China Performing Arts Festival in 2014 has resulted in annual return engagements, with two separate productions touring in the summer of 2018. The company’s Eric Carle Classics has just completed a twenty-four-performance tour, which visitedBeijing, Shijiazhuang, Hangzhou, Ningbo, Shanghai, and Xiamen, while Goodnight Moon and the Runaway Bunnywill appear in Shanghai, Hefai. Hangzhou, Wuhan, Beijing, Ordos, Taicang, Wenzhou, Shenzhen, Xiamen and Guangzhou during July and August.  The ability to offer Mandarin–language performances featuring recorded narration by Dashan (Mark Rowswell), the legendary Canadian stage and television performer acknowledged as the most famous foreign artist in China, has been a major factor in the company’s popularity with family audiences in more than fifteen cities.

In addition, Mermaid’s training wing, The Institute of Puppetry Arts, will again offer workshops to family participants at under the auspices of the Shanghai Children’s Art Theatre. Mermaid’s principle workshop leader, Struan Robertson will return to China to conduct these ‘found object’ sessions.

Pictured below:
Jim Morrow, Mermaid’s Managing Artistic Director, welcomes audiences in Hangzhou.

Message for
World Puppetry Day
UNIMA 2018
By Werewere-Liking Gnepo

A sculptured head
A painted figure
Is it human
Is it animal
Or even vegetable,
Made of roots or dead leaves
Is it mineral
Shaped straight from the mass of stone
Or from clay heavy with metals
Or is it just foam or rags…
It is or it represents a loved one
An Ancestor or a Guardian Spirit
But it could be a votive statue
A mask or a doll
What makes it a puppet
Is animation:
We wear a mask or carry a doll
We shake a jumping jack
We animate a puppet…
It can be a cane
An umbrella, a hand or a foot
As long as we can animate it
Give the illusion that it has its own life
A personality, a character,
A plan, a goal, its own destiny
A life it leads like all other beings
A life linked to its animator, its Creator:
A dialectical life, sometimes poignant,
More often comic and fantastic…

We cannot wonder about puppets
Without wondering about creation in general
And the creation of Life in particular
Especially, about the creation of living beings
Apparently independent
But whose dependence or interdependence
Often goes beyond mere Animation
To become pure Manipulation…
We cannot wonder about the Creator
And the kind of mockery
That drives these nagging questions
Without imposing upon us another mockery:
That of the eyes of the child in each of us
And in each member of our audience,
This is what helps us escape
Despair and impotence
When faced with the continual rise
Of intolerance and violence.
We need this child’s eye view
To believe in these animated figures
These “Ndjundju” or these “Kakamu”
These “Sogos Ba and their Sogos Denw”
Sometimes so fine and attractive
Often so strange and frightening
Which terrorize and amaze
In turn, no matter
But which captivate completely
All our attention and willingness
To believe in magic and all its possibilities
Of the Change of the world and all its mores
And we accept the puppets,
We listen to them silently
We admire their faces and their mouths
Such marvellous imitations and representations
Of our societal Guignols:
Politicians, religious folk,
Men and Women
Voices of Power or Business
All so Mafiosi
So terribly perverse
We are moved to tears to see the puppets revealing everything
Without censorship or bombing

Here too, home, in Africa,
They are, they make the “Jesters”
They have a power of their own
A being power, a power to be
They are a gift, an inheritance
They are knowledge
From generation to generation
They are initiation
Before being playful
They are arts of epic times
Where speech becomes too closely watched
From now on requiring shields
To protect “the widows and the orphans”
These impulses of inventors and creators…
They offer the freedom to aspire
To those unexplored universes
Where techniques of making
And especially those of animation
Compete
Within those global manipulations
(Both genetic and technological)
And extract their share of the market
As well as an honourable and honorific place
To the extent of their own merit
Puppets of Africa
Coming into the public arena
Reveal their atypical story
Made of beauty and mystery
Of dreams and marvels
To be bequeathed to the perpetuation
Of pure childhood
In the imagination of humanity
And, in this 2018 world celebration of puppetry art
I am especially proud and happy to have been chosen
To bring the Message of the Union Internationale de la Marionnette
In tribute to this art form that has not yet done
Revealing all the wealth of the human heritage
To the best consciousness of all humanity.
And I pray to all who have entrusted me with this noble mission
To, here, receive all my gratitude and respect.

Werewere-Liking Gnepo
Multidisciplinary Artist
Werewere-Liking Gnepo was born Eddy-Njock on May 1st 1950 in Bondé in Cameroon. She has lived in the Ivory Coast since 1978. This multidisciplinary Ivorian-Cameroonian artist is the author of around thirty published books, from novels to theatre, stories, essays, art books and poetry. She has been a painter since 1968 with many exhibitions all around the world. She is also a dramaturg, innovative puppeteer and director of numerous total theatre spectacles considered as African operas; several of these have made world tours; she is also an actress of the stage and screen, and a rap singer…

She was a researcher in traditional pedagogy at Abidjan University (LENA) between 1979 and 1985; she participated in the ‘revolution’ within ritual theatre and was the founder of the arts group Ki-Yi Mbock. She has developed a training system inspired by African initiation rites; within this training, she acts as a ‘star awakener’. This role has enabled her to support hundreds of young people in troubled circumstances to become successfully reintegrated within society as leaders; this led to her being awarded a ‘City Heroes’ prize from Prince Claus of the Netherlands in 2000. She set up the Ki-Yi Pan-African Foundation for Youth Training in Cultural Creation and Development in 2001 and continues this work today. She has received several prizes, such as the French Arletty Award, the Belgian René Praïle award and the Fonlon Nichols award from the University of Alberta; she is a ‘Knight of Arts and Letters’ in France, a Commander of the Order of Merit for the Ivory Coast, was a member of the High Council of French-speaking communities between 1997 and 2003. She received the Noma Award in 2005 and was winner of the book of the year in 2007 for, amongst others, her novel Amputed Memory. She is currently a permanent member of the Academies of Science and of African and Diasporic African Arts and Culture in the Ivory Coast.

The latest newsletter from the Association québécoise des marionnettistes (AQM)

Baobab Théâtre Motus Vendredi 9 février 2018 14 h 00 La fête de la lecture et du livre jeunesse de Longueuil au Théâtre de la Ville Représentations scolaires Mardi 20 février 2018 9 h 10 et 13 h 15 Salle Desjardins Maria Chapdelaine Informations : 1 (450) 616-1427

Partout ailleurs Théâtre de l’Avant-Pays Jeudi 26 janvier au jeudi 8 février 2018 10 h 00 Maison théâtre Informations : (514) 844-6084

Au train où vont les choses Les Chemins errants Samedi 10 février 2018 14 h 00 Maison de la Culture de Verdun Mardi 20 février 2018 9 h 30 Centre culturel et communautaire Henri-Lemieux Dimanche 25 mars 2018 11 h 00 Place des Arts Informations : 1 (819) 582-0852

Quichotte Ombres Folles Mardi 20 février 2018 13 h 30 Maison de la culture Frontenac Dimanche 25 février 2018 15 h 00 Maison de la culture de Trois-RivièresLundi 26 février 2018 10 h 30 Maison de la culture de Trois-Rivières Samedi 10 mars 2018 19 h 00 Maison de la culture Ahuntsic Informations : (438) 882-6444

Mémoire de Lou Théâtre de l’Avant-Pays Dans le cadre du Conseil des arts de Montréal en tournée: Vendredi 23 février 2018 19 h 00 Maison de la Culture de Rosemont-La Petite-Patrie Dimanche 25 février 19 h 00 L’Entrepôt – Complexe culturel Guy-Descary Mardi 27 février 9 h 30 Maison de la culture Rosemont-La-Petite-Patrie Samedi 3 mars 2018 14 h 00 Maison de la culture Le-Plateau-Mont-Royal Informations : (514) 844-6084

L’allée des petits secrets Des mots d’la dynamite Samedi 25 février 2018 10 h 00 et 11 h 00 Salle de diffusion de Parc-ExtensionGratuit Informations : (514) 528-7070

Mwana et le secret de la tortue Théâtre à l’Envers Samedi 25 février 2018 14 h 00 min Maison de la culture Rivière-des-Prairies Informations : (514) 544-9370

Flocon Jessica Blanchet Dimanche 26 février 19 h 00 Bibliothèque de Mascouche Gratuit Informations : (514) 544-9370

L’effet Hyde Théâtre de la Pire-Espèce Mardi 6 au samedi 24 mars 2018 Théâtre Aux Écuries Informations : (514) 844-1811

Tommelisse L’Illusion, Théâtre de marionnettes Mardi 13 au dimanche 2 mars 2018 Studio Théâtre de l’Illusion Informations : (514) 523-1303

Magie lente Des mots d’la dynamiteSamedi 17 mars 2018 11 h 00 Bibliothèque Saint-Léonard Centre national des Arts,  Ottawa:  Représentations scolaires: Mercredi 7 au 9 mars 2018 Représentation devant public: Samedi 10 et dimanche 11 mars 2018  11 h 00 et 15 h 00 Informations : (514) 528-7070

Les routes ignorées Ombres Folles Dimanche 18 mars 2018 15 h 00 Maison de la culture de Trois-Rivières Lundi 19 mars 2018 9 h 30 et 13 h 10 Maison de la culture de Trois-Rivières Informations : (438) 882-6444

Nordicité Théâtre InclinéMercredi 21 mars 2018 19 h 30 Maison des arts de Laval Informations : (450) 682-7223

Bestias : création de bêtes ambulantes Formation offerte par l’AQM  Formateurs: Iker Vicente et Jacqueline Serafín (Mexique) Cette formation veut combler un besoin d’approfondir des connaissances relatives au mouvement mécanique lié à l’expressivité d’une marionnette. Le stage est conçu comme un espace d’expérimentation dans l’intention de construire et d’animer des marionnettes surdimensionnées comportant des traits caractéristiques d’animaux en mouvement. Du jeudi 1er au lundi 5 mars 2018 36 heures, 5 jours Centre communautaire intergénérationnel (CCI) 999 rue McEachran, Outremont Plus d’infos Téléchargez le formulaire d’inscription en cliquant ici.

Le silence sur la scène Formation offerte par l’AQM  Formateur: Igor Ovadis Pour arriver à vivre sur scène d’une façon véritable, il faut s’occuper du silence. C’est cette notion qui sera au cœur des expérimentations. Que se cache-t-il derrière le silence? Le silence contient le rythme, les désirs, le conflit, les tensions qui donnent vie à ce qui est inventé sur scène. Igor Ovadis, dans sa formation de 25 heures, se basera sur les travaux de Stanislavski, le père du jeu moderne. Le stage tournera autour de son système,  une méthode de provocation; provoquer la vie, la relation, le conflit, les tensions, les désirs, les émotions par des actions physiques pour faire émerger la vérité scénique. Mercredi 18 au dimanche 22 avril 2018 (dates à confirmer) 9 h 00 à 16 h 00 Téléchargez le formulaire d’inscription en cliquant ici.

L’entrepreneuriat culturel. Entreprendre… et réussir! Formation offerte par le Conseil régional de la culture de Laval Formatrice: Yzabel BeauBien Samedi 10 février 2018 9 h 00 à 17 h 00 Le Tiers Lieu 1200, boul. Saint-Martin Ouest, suite 130, Laval Plus d’infos

Lire à voix haute Formation offerte par le Chemin qui marche Formatrice: Isabelle Forest Samedi 10 et dimanche 11 février 2018 9 h 30 à 16 h 30 Vieux Couvent de Neuville 652 rue des Érables, Neuville, G0A 2R0 Informations:isabelle.forest@espaceartnature.com (418) 876-2209 Plus d’infos

La rédaction efficace d’une demande de bourse Formation offerte par le Conseil régional de la culture de Laval Formatrice: Yzabel BeauBien Samedi 24 février 2018 9 h 00 à 17 h 00 Salle de répétition 4e étage 397, boul. des Prairies, Laval Plus d’infos

13e édition du Festival de Casteliers Pour la 13e édition, Casteliers est heureux d’accueillir onze spectacles de marionnettistes nord-américains, du Mexique, des États-Unis, de l’Ontario et du Québec, accompagnés d’une performance et une installation d’artistes des Pays-Bas et du Nunavik. Pour une première fois, une déambulation extérieure ouvrira le festival, où loups et cerf grandeur nature sauront transformer notre perception du paysage urbain. Aussi au programme, plusieurs nouvelles créations pour adultes et pour enfants, d’artistes renommés et de la relève, une soirée de courtes formes inspirée des slams américains et une conférence sur la marionnette comme un grand art! Le Festival de Casteliers, une célébration du 11e art ! Cliquez ici pour voir la programmation!

Le Festival OUF!, Off Casteliers, célèbre son 5e anniversaire! Ne manquez rien de la fête: Le lancement de la programmation se fera le 13 février, au Café Atomic, situé au 3606 Rue Ontario E, Montréal, en formule 5 à 7. Venez découvrir une centaine d’artistes qui participent cette année! Pour vous impliquer comme bénévole, rendez-vous le 6 février à 18h au Café Reine Garçon, 611, rue Duluth, Montréal, ou écrivez-nous à festivalouf@gmail.com Le festival se déroulera au Pavillon Saint-Viateur dans Outremont, tous les jours du 3 au 11 mars. Pour plus de détails et pour ne rien manquer des événements spéciaux, suivez-nous sur Facebook, Instagram et Twitter et visitez le festivalouf.com.

La lotterie d’UNIMA-CANADA! À chaque année, Le festival Casteliers accueille des directeurs de festival, des diffuseurs et des artistes étrangers (Canada, USA, Europe). Tous ces invités sont logés aux appartements Trylon à Montréal où ils prennent ensemble leur petit déjeuner. Cette année encore, en collaboration avec Casteliers et l’AQM, UNIMA-CANADA propose une occasion rêvée à 2 membres d’UNIMA-CANADA : Soyez à Montréal pour profiter du festival Casteliers et de son petit frère le OUF. C’est une loterie, vous n’avez qu’à envoyer votre nom! Pour plus d’informations et pour participer c’est ici!

Une bonnne nouvelle pour le Théâtre des Petites Âmes! L’AQM tient à féliciter le Théâtre des Petites Âmes qui s’est vu remettre le prix de l’AQCT pour le meilleur spectacle jeune public – Montréal pour son spectacle OGO! Lire l’article ici!

Appel à jeunes auteurs 2019 marque le 90e anniversaire de la création de l’Union Internationale de la Marionnette (UNIMA). Afin d’honorer cette date, l’UNIMA propose une compétition ouverte pour jeunes auteurs intéressés pour créer un scénario ou un concept pour théâtre de marionnette qui sera joué à l’occasion des célébrations du 90e anniversaire. L’UNIMA est à la recherche d’un scénario/concept pour théâtre de marionnette. Cette création sera adaptée dans le cadre de quatre productions distinctes et jouées dans quatre régions géographiques distinctes du monde : Afrique, Asie-Pacifique, Europe et Amérique. Appel ouvert aux jeunes auteurs de théâtres de marionnette âgés de 18 à 30 ans ! Plus d’informations

Appel de dossiers: Micro-Festival de Marionnettes Inachevées Les Sages Fous sont à la recherche d’un projet inachevé en marionnette qui réclame la confrontation avec le public! La 11e édition du Micro-Festival de Marionnettes Inachevées, organisé par Les Sages Fous, aura lieu du 20 au 27 octobre 2018. Infos et inscriptions: info@sagesfous.com Date limite: 1er avril 2018 Plus d’infos

Marionnettistes recherché(e)s! Créations Jessica Blanchet est à la recherche de 2 marionnettistes pour sa nouvelle création destinée à la petite enfance, Petit pois, dont la première aura lieu en mai prochain. Vous avez toujours voulu interpréter un scarabée bousier et une chenille poilue? Le grand-petit monde des insectes vous fascine ? Les enfants de 3 à 7 ans vous interpellent et vous voulez leurs partager votre brin de folie dans un spectacle amusant et rigolo ? Pour plus d’informations et pour tout savoir (ou presque !) de la création, cliquez ici!

Appel à dossier: Festival Mondial des Théâtres de Marionnettes de Charleville-Mézières 2019 Le Festival Mondial des Théâtres de Marionnettes de Charleville-Mézières lance son appel pour la prochaine édition en 2019. Pour vous inscrire, cliquez-ici! Date limite: 31 juillet 2018

Appel à candidatures : Oeuvre de l’année 2018 à Laval Le CALQ et le CRCL s’associent pour créer un Prix, assorti d’un montant de 5 000$, qui viendra souligner le travail d’un artiste, écrivain ou collectif lavallois. Date limite: Vendredi 9 février 2018 Plus d’infos

Appel à candidatures : Prix SENTINELLES 2018 Le Conseil québécois du théâtre (CQT) invite les individus et les organismes du milieu théâtral professionnel à soumettre des candidatures pour les deux prix créés en vue de souligner l’apport indispensable des travailleurs culturels au développement de l’art théâtral québécois. Date limite: Vendredi 23 février 2018 Plus d’infos