I was excited to find this video about Stephen Mottram’s strange and beautiful show The Seed Carriers via Siân Kidd on Twitter last night. It’s amazing puppetry that I would love to see live one day. I was also interested in his comments about it being essentially live animation on stage, and distinctly related to installation art.
This is the finished emu egg prop made for Biami. The story recounts how Biami ‘created the emu Dinnawhan, the female emu, whose spirit he used to create the Wiradjuri people; who now believe they are of the egg of Biami and the female spirit’. This is symbolised by the shadow of a baby in the coolamon within.
The egg is made from Plastimake, small pellets of plastic which soften when heated and can then by modeled. I this kind of plastic at Philip Millar’s puppet doctor session at the puppetry conference in Melbourne last year, and have been itching to have a good reason to use it! Peter, who I contacted at Plastimake, was very helpful, and it turned out to be a great material for this project.
I found it quite tricky to think through the various steps in how to make this, as it had to light up from inside but be self-contained, and you have to be able to access the batteries so they can be changed.
I started by making a polystyrene egg about 20 cm long as a former. Here it is with Special Tool A, a bit of plywood with some blunt sandpaper gaffered onto it, which happens to be ideal for smoothing polystyrene once you have carved to roughly the right shape. Then I cut the egg in half lengthwise and put a bit of polypropylene in between so that I could later split the egg in half easily, and also cut away a small section at each end so that the ends would end up thick enough to hold screws to keep the two halves together.
I used small quantities of Plastimake, heated in boiling water. The pellets turn transparent when they are hot enough to fuse, and then you can fish them out with a spoon and mold them to shape. I found that squishing them together a bit with the spoon while they were still in the water was a good idea too. (The little bag of black pellets are colouring pellets of Plastimake which I didn’t end up needing).
This photo shows the egg completely covered with plastic, in various stages of setting. The opaque areas of white at the large end are set, but in other places where it is still warm you can see right through to the gladwrapped polystyrene inside. Once the egg was covered roughly, I spent quite a bit of time heating it with a hairdryer and then smoothing it out. One of the great things about Plastimake is that it can be reheated and reused, as well as added to, drilled and cut.
The egg has a flattened part for it to rest on so it doesn’t roll around, and into that I set some polypropylene sheeting with the black contact cut-out of the the baby in a coolamon. In the other half is an led light unit from the dollar shop, with it’s switch button rewired to fit into the right position poking through to the outside of the egg. I also replaced the batteries that came with the light with button batteries instead as it seemed neater, hacking a tealight battery holder so that it held two batteries rather than one. (Thanks Zaiga!)
Once the egg itself was made and joined up I paper mached the outside with white tissue paper because although paint takes well to Plastimake it can rub off fairly easily with wear. The speckled finish is spray paint and a little green acrylic paint.
I couldn’t find any fur fabric that was right, so opted for felt for covering the kangaroo mask. I was actually happy about that, (although it still leaves the question of what fabric to use for a tail), because I loved the masks using this technique that I made some years ago. I built a section into the inside of the mask that will fit the wearer’s face comfortably and firmly. There’s still quite a bit of detailing to be done on the ears, eyes and mouth.
While the mask was drying I went back to making an emu egg for the same show, Biami. I’d already made a polystyrene form for it, but had set it aside while I considered how to make it light up inside. Today I finally covered the egg in Plastimake. I’ll have some photos of the egg later as it progresses.
Today I’ve been making a kangaroo mask. This is for the Biami production I blogged about yesterday. I decided to use paper mâché even though it’s a little time consuming. For something fairly small like this it’s fine, and I am pretty quick. I like doing paper mâché very much and find it meditative. I’m not sure on the final finish yet – fur or felt?
I’ve been making some puppets for Biami, the creation story of the Wiradjuri people, by Duncan Smith and Maitland Schnaars, which will be performed for the Kids, Creatures and 100 Harlequins - Centenary Children’s Week Celebration on 25 & 26 October in Glebe Park. (It’s part of the Centenary of Canberra project.) Today I finished the goanna!
This is the little ‘rock’ house I made for the play I blogged about last week, Joy McDonald’s The (Very) Sad Fish Lady. It is made from sheet polypropylene cut to suggest rocks , and was covered with gauze, so that it could appear solid when lit from outside, but could also show action inside when lit internally.
Here are a few making photos.
The (very) Sad Fish Lady, now on at the Street Theatre until 5th Oct, is delightful. It’s written and directed by Joy McDonald, and is a fusion of stories from her family about their immigration from the little Greek island of Castellorizo, just off the Turkish coast, to Australia, plus a bit of magic. It’s told with a mixture of puppets – marionettes (Joy toured Australia as a puppeteer with the Marionette Theatre of Australia’s Tintookies), shadow puppets in the style of the Greek Karagiozis tradition, and rod puppets. Its unusual to see marionettes these days, and they have a great charm to them.
The play has a unique quality to it, in the sense that the story and the characters are not stereotypical in any sense – this is a real breathe of fresh air! I think this is partly what Frank McKone is referring to when he describes it as folk art theatre. It’s also outright funny in places, and has great music by David Pereira. Imogen Keen was the set designer and Joy made the puppets. My involvement was making the little rock house the VS Fish Lady lives in.
There’s also an accompanying exhibition of the puppets, storyboard and process at Craft ACT until 19 Oct. I took the following photos there:
The (very) Sad Fish Lady.
Some of the characters (in shadow puppet form) who visit the fish lady to have their fortunes told.
The shadow puppets from behind the screen.
Drawings of the (very) Sad Fish Lady’s epiphany. There is now a picture book of The (very) Sad Fish Lady.
At sail on a sea of wheat, the Ancient Merino and his aging theatre troupe struggle to eke out an existence in a hostile environment. When a the threat of modern technology looms they must adapt or fade into obscurity.
The animation is an allegory for the story of ‘the 50 year history of the Arapiles Community Theatre, and the recent influx of new arrivals and the changes that has brought about’ in the small regional town of Natimuk, Victoria. Traditionally a service hub for the surrounding farming country, Natimuk is also the closest town to Mount Arapiles, a mecca for rock climbers, so it is an interesting mix of farming people, climbers and an arts community. In October it will again be the centre for the Nati Frinj.
I love the puppets in this; they’re life size and made from bits of old farm machinery. And I like the little details like the snails.
This is a great behind-the-scenes video for Erth‘s The Dream of the Thylacine which will run at Carriageworks in Sydney 25 Sept to 5 October. In particular it shows super talented puppet maker Bryony Anderson talking in some detail about how she thought about the project, and her process in building the thylacine puppet, down to how and why she came to make the fur from potato sacks!
Also take a look at this amazing spider made by Bryony and friends, using only stuff from the dump.