Puppetry Tools︎︎︎
In three parts:
Animated bodies (Part 1)
- Find a place in the space and make yourself and your arms comfortable on the ground.
- Play with your hand by moving fingers, 1 finger, 2 fingers, … . Rest.
- Breathe natural and slightly audible.
- Let the hand breathe. Imagine the hand is asleep.
- Think as you are the hand. What is it dreaming about?
- The hand is waking up now. Imagine where its eyes can be.
- Stay connected to the ground and let it explore space. See how it pulls or pushes itself along.
- When hands meet let them have interaction.
- Repeat the score with different parts of your body.
* It is not only about animating parts of your body but to bring attention and consciousness to them which can inspire you for a choreographic score.
Animated nature (Part 2)
- Go for adventure in nature and find sticks no longer than 35 cm.
- In the practice space, find a place for yourself and sit with your stick.
- Look at it. Look at the details.
- Try to balance it on one finger.
- Close your eyes and touch it. Think about its history.
- Open your eyes and put the stick in front of you. If you were exhibiting it in an art gallery, how would you lay it out?
- Breathe natural and slightly audible.
- Let the stick breathe. Imagine the stick is asleep.
- Think as you are the stick. What is it dreaming about?
- The stick is waking up now. Imagine where its eyes can be.
- Stay connected to the ground and let it explore space. See how it pulls or pushes itself along.
- When sticks meet let them have interaction.
Animated objects (Part 3)
- Ask performers to bring two objects/things from home which are each capable of being held by one hand.
- Gather all the objects in one place and ask everyone to pick an object that they didn’t bring.
- In the practice space, find a place for yourself and sit with your object.
- Close your eyes and touch it. Think about its history and features.
- Breathe natural and slightly audible.
- Let the object breathe. Imagine the object is asleep.
- Think as you are the object. What is it dreaming about?
- The object is waking up now. Imagine where its eyes can be.
- Stay connected to the ground and let it explore space. See how it pulls or pushes itself along.
- When objects meet let them have interaction.
Animated bodies (Part 1)
- Find a place in the space and make yourself and your arms comfortable on the ground.
- Play with your hand by moving fingers, 1 finger, 2 fingers, … . Rest.
- Breathe natural and slightly audible.
- Let the hand breathe. Imagine the hand is asleep.
- Think as you are the hand. What is it dreaming about?
- The hand is waking up now. Imagine where its eyes can be.
- Stay connected to the ground and let it explore space. See how it pulls or pushes itself along.
- When hands meet let them have interaction.
- Repeat the score with different parts of your body.
* It is not only about animating parts of your body but to bring attention and consciousness to them which can inspire you for a choreographic score.
Animated nature (Part 2)
- Go for adventure in nature and find sticks no longer than 35 cm.
- In the practice space, find a place for yourself and sit with your stick.
- Look at it. Look at the details.
- Try to balance it on one finger.
- Close your eyes and touch it. Think about its history.
- Open your eyes and put the stick in front of you. If you were exhibiting it in an art gallery, how would you lay it out?
- Breathe natural and slightly audible.
- Let the stick breathe. Imagine the stick is asleep.
- Think as you are the stick. What is it dreaming about?
- The stick is waking up now. Imagine where its eyes can be.
- Stay connected to the ground and let it explore space. See how it pulls or pushes itself along.
- When sticks meet let them have interaction.
Animated objects (Part 3)
- Ask performers to bring two objects/things from home which are each capable of being held by one hand.
- Gather all the objects in one place and ask everyone to pick an object that they didn’t bring.
- In the practice space, find a place for yourself and sit with your object.
- Close your eyes and touch it. Think about its history and features.
- Breathe natural and slightly audible.
- Let the object breathe. Imagine the object is asleep.
- Think as you are the object. What is it dreaming about?
- The object is waking up now. Imagine where its eyes can be.
- Stay connected to the ground and let it explore space. See how it pulls or pushes itself along.
- When objects meet let them have interaction.
Welcome to mapping collaboration, a toolbox for workshopping and creating across disciplines...
In spite of a long history of interdisciplinary creation, from our earliest recorded arts to our present moment, artistic pedagogy has created divisions between disciplines. This has left artists in a "post-Babel" condition where we don't share the same language and definitions. It’s also encouraged artists to develop practices for devising, creating and composing work that are distinct to their disciplines.
In spite of a long history of interdisciplinary creation, from our earliest recorded arts to our present moment, artistic pedagogy has created divisions between disciplines. This has left artists in a "post-Babel" condition where we don't share the same language and definitions. It’s also encouraged artists to develop practices for devising, creating and composing work that are distinct to their disciplines.
The inspiration for this project came from faculty and students at Simon Fraser University’s School for the Contemporary Arts where BFA, MFA and PhD programs in Dance, Theatre Production and Design, Visual Art, Film, and Music and Sound all work together in studio settings and playfully experiment with processes of art-making.
We wanted to create a database of projects, assignments and theory that we collect inside the studio and from research happening in other places. We are curious about how we collaborate and how structures reoccur, translate and deviate from one discipline to another.
Composition is central to these processes and offers a base for our approaches and experiments. We are excited about what our students are doing and inspired by the new languages in contemporary art and performance we continue to see develop.
︎︎︎select a category above to build assignments, learn more about how artists process ideas across disciplines and to create a collaborative process of your own
︎︎︎these tools are collected and used in workshops and classes; some are resources from artists; some are quotes about art-making and how bodies think and listen; others are ideas to expand and disrupt your own training and processes.
︎︎︎Each idea is intentially short- and not meant to be executed as written, but to be adapted to your own practice and specific project/context. Some may be taken in parts or combined with others to spark new ways of training and making together.
︎︎︎submit your own ideas and tools so we can keep building this site!
︎︎︎select a category above to build assignments, learn more about how artists process ideas across disciplines and to create a collaborative process of your own
︎︎︎these tools are collected and used in workshops and classes; some are resources from artists; some are quotes about art-making and how bodies think and listen; others are ideas to expand and disrupt your own training and processes.
︎︎︎Each idea is intentially short- and not meant to be executed as written, but to be adapted to your own practice and specific project/context. Some may be taken in parts or combined with others to spark new ways of training and making together.
︎︎︎submit your own ideas and tools so we can keep building this site!
