Just a reminder that the early bird period for registration fees for the 4th National Puppetry and Animatronics Summit in Australia will end in a few days. After 24 June you will have to pay the full rate, so jump in quickly.
The summit will be held in Melbourne, 5 – 8 July, 2012, and hosted by the Victorian College of the Arts, University of Melbourne. The program is looking good, and I’m looking forward to it!
The summit will be held in Melbourne, 5 – 8 July, 2012, and hosted by the Victorian College of the Arts, University of Melbourne.
Building on the best experiences of the previous Summits, the 4th Summit will provide a stimulating and provocative program of workshops, masterclasses, and forums for policy discussions and debates that celebrate the arts of puppetry and animatronics.
An exciting new feature of the 4th Summit is a ten day performance project masterclass lead by an international guest artist which culminates in a presentation at the opening of the Summit. There will also be a film program and a Summit Club where puppeteers can perform experimental items and works-in-progress.
I’ve been to the previous summits in Melbourne 2002, Hobart 2006, and Perth 2008 and found them very worthwhile, so it’s good to know there is another one coming up.
The inaugural Tarrengower Puppetfest is coming up quickly! It takes place in the central Victorian town of Maldon on 10 -12 March 2012. The relaxed rural setting, where people can easily walk between performance venues, cafe’s and eating places, should be a drawcard as it was at the One Van Puppet Festival, which used to be held in Blackheath in the Blue Mountains.
The artistic director, Richard Hart from Dream Puppets, has put together a great program, and there are more performances yet to be included, including a puppet slam. Dream Puppets also puts together the Oz Puppetry Email Newsletter which is a good way of keeping up to to date with Australian puppetry news, and the festival.
The play itself had been a festival highlight for me. First staged 16 years ago, it tells the story of Woyzeck, a man of sensibility and principle, who is brought down by jealousy; but his struggle is informed in every way by the hardships of the migrant labour system under apartheid in the South Africa of the 1950′s.
Two aspects of the show intrigued me in particular.
One was the power of director William Kentridge’s back-projected animations which formed part of the backdrop to the set. They provided not only physical settings to the action and shadow puppets, but at times gave excruciating visual metaphors for what characters were thinking and feeling. For instance, in one scene, Woyzeck is worrying about setting his master’s table. He is doing fine in reality, but in contrast, as he gets increasingly anxious about doing it perfectly, the animation shows great smudges and spills amassing into a chaos that ends in, among other things, a plane crashing and burning.
The other was, of course, the puppets. They are bunraku-style puppets, with beautifully expressive carved (and hollowed out) wooden heads and hands. Adrian is the master puppet maker and designer. He explained how after touring Woyzeck extensively for some years, the company saw selling the puppets as the only way to move on to doing new work. Their latest production, Warhorse, would have been too big to tour, and fortunately, to their surprise, the Munich City Museum was happy to lend the puppets back for the gig at Unima 2008.
Margaret (?), Andries, with the accordion, and Maria with her baby:
The mysterious newspaper death-like character:
Adrian Kohler with the Miner, explaining how the implements in his hand can be changed:
The rhino, showing the rods and mechs on the operator’s side. There is a universal joint in it’s sternum. The red bulb is it’s bladder! (not to be confused with the 2 red chairs in the background).
Here is a video of the rhino in action. You can hear Gary and Adrian chatting.
I loved the rhino most, because it has so much character, and moves in such a life-like way, while being impressionistic in style. I’m very interested in this. Kohler has developed the style much further, too, since building the rhino, as you can see if you look at the horses in Warhorse. Warhorse is the first production where Handspring has moved away from performing their own work, and Adrian commented there were advantages in being solely a maker at times, rather than being a maker/puppeteer.
Incidentally, Handspring is hoping to bring out a DVD of Woyzeck, including the animations, and there is to be a new season of Warhorse in London later in 2008. There’s just a chance I might around to catch it!
A friend who is a public servant was telling me how, in her department, it feels as if a great weight has been lifted since the change of government. I certaintly feel a great relief to have done with the awful Howard era. So far the signs are promising:
Jeffrey Sachs, speaking on the 7.30 report: ‘Australia has given me a huge boost of optimism with this wonderful election result and the leadership that the new government is showing. How could anybody be a pessimist when we see what Australia’s doing now on taking on the challenge of climate change’.
Prime Minister’s Literary Award : a thumping big new award for writers. The Arts portfolio is now being handled by a senior cabinet minister, while Sports moves to the outer ministry and a junior minister.
But if I had to nominate a flashpoint when I felt my body jolt upright with exultant anticipation and gushing love of country, it actually came courtesy of the first lady-elect, Therese Rein.
When Kevin Rudd walked on stage to claim his place as Australia’s 26th prime minister, the woman he calls his life partner stood with her hand in his beside him, and shimmied. She leant forward and, with a cheeky glint in her eye, shook her shoulders from side to side and shimmied. And it was glorious.
If ever there was an image to differentiate the old from the new on election night, it was Therese Rein’s shimmy. As surprising as the revelation that I’ve placed a shimmy above Australia electing its first female deputy prime minister and Maxine McKew’s “in heaven no one’s blind” moment might be, the shimmy said it all.
Yeah! It was at that point that I sat up and said ”Oh! I think I am going to like her!”.
Of course, now I have to decide what to do with my own two Howard puppets. They are too toxic to burn (just like the real thing, really!). I’m going to close my Vigil blog, but the puppet, which started out as an anti-war one, remains, as does the scarecrow one I made as a protest against the Howard government’s refugee policies. Any suggestions?
The GreensBlog has some politician masks you can download and print. They were intended for halloween, but, you know, they might come in handy in the next few weeks!
Here in Canberra this time around we have a unique opportunity to alter the balance of power in the Senate immediately. The Coalition parties hold 20 of the 40 seats in the Senate, and it only requires the loss of one of their seats to a progressive to bring some accountability back to the Senate. In the ACT we can do that immediately if only 11,000 people change their vote to a progressive one in the Senate. GetUp! is running a campaign and unique multi-party ad to this effect.
Today Australia Post is issuing a stamp set featuring five of the 150-or-so Australian Big Things, large roadside attractions that seem to occupy an odd little corner of our national identity. The legendary Reg Mombassa is the artist, an inspired choice, as his style reflects the quirkiness and humour with which the big things are regarded.
The big merino about an hour up the highway from us in Goulburn was moved a few weekends ago. It’s an almighty concrete ram nicknamed Rambo, but has a souvenir shop nestled between it’s hind legs instead of rambo-ishness. It used to be on the Hume Highway to Sydney, until Goulburn was by-passed, but now it will be again. Sadly it seems that after all the effort, it is visible but not exactly predominant.
The ABC NSW also has a photo of the ram being built, and details of its construction. It actually is a light glass-reinforced concrete skin. Like a number of other big things, it was made by an Adelaide based company, Glenn Industries.
Big Things: Australia’s Amazing Roadside Attractions by David Clark is also a good source if you are interested in how the big things were made, although from my point of view they never give enough detail. I like the stories of those that were made just by one or two people, eccentrics with a bee in their bonnets.
Back to Reg to finish off. This postcard has been on my fridge door since some campaign in 2002. I love the title as much as the drawing:
A new analysis by Global Carbon Project scientists shows that carbon intensity in the world economy is increasing. While emissions of carbon dioxide (CO2) are accelerating worldwide, we are gaining fewer economic benefits from each tonne of fossil fuel burned. A study being published this week in the Proceedings of the National Academy of Science shows that CO2 emissions increased by 1.1 % per year through the 1990s but the rate of increase jumped to 3 % per year in the 2000s.
In Can climate change get worse? it hasThe Age looks at the implications for Australia from the same data, quoting Dr
Michael Raupach (senior CSIRO scientist and co-chairman of the Global Carbon Project, who led the international research).
Australia, with 0.32 per cent of the world population, contributes 1.43 per cent of CO² emissions from fossil fuels. In a global context, and particularly in comparison with other developed regions (the USA, European Union and Japan), these emissions rank as follows:
Australia’s per capita emissions in 2004 were 4.5 times the global average, just below the value for the USA.
Australia’s carbon intensity of energy (amount of carbon burned as fossil fuel per unit of energy) is 20 per cent higher than the world average, and 25 to 30 per cent higher than values for the USA, Europe and Japan. Therefore, the energy efficiency of fossil fuel use is significantly lower in Australia than in these other developed countries.
Australia’s carbon intensity of GDP (amount of carbon burned as fossil fuel per dollar of wealth created) is 25 per cent higher than the world average. It is a little higher than the USA and nearly double that of Europe and Japan. Therefore, the overall carbon efficiency of the economy, per unit of fossil fuel used, is about half that for
Europe and Japan.
Over the last 25 years, the average growth rate of Australian emissions was approximately twice the growth rate for world as a whole, twice the growth rate for the USA and Japan, and five times the growth rate for Europe.
The rate of improvement (decline) in the carbon intensity of GDP for Australia is lower than in the USA and Europe.