The Life and Death of Objects and Puppets: Immanence, Intervention, Presence and Absence

Some objects, including puppets, possess an inherent energy. Within the context of performance this can work with and against human presence. The proposed project is an investigation into the dynamics of the object/puppet which, when animated, is given the illusion of life.

I shall start by attempting to remove the human intervention/animation of the object/puppet to look solely at ephemeral animation, meaning animation of the object/puppet via natural forces (for example, a bag blowing in the wind). Does the absence of human presence, and therefore ego, allow the object autonomy of presence? Does it appear more alive because of the random 'free' nature of its animation?

The second stage of research will explore the idea of the past life of puppets through work with an existing set of Punch and Judy figures that belonged to the late Punch Professor Joe Beeby. This will form a case study of the relationship between tradition and contemporary practice, with particular focus on a feminist perspective of the character of Punch. When puppets have such an evocative history, how will their past life influence the creation of a new performance piece? The life and work of Joe Beeby will provide me with a context, history and persona from which to begin to engage with Joe's absence and a discovery of my own presence within the character of Punch.

The third stage will focus on public inclusion and exclusion, and the complicity of the audience in creating the illusion of life in the object/puppet, especially in relation to 'ritual' puppetry. This will engage with the 'private' world of personal ritual which touches on animism and a deep-rooted relationship with environment and objects within it to suggest life--as opposed to the public world of performance and the intervention of the audience in puppet/object performance.

Finally, I will look at the confrontation of the dead object/puppet, focusing on the concept of the archive via the exhibited object/puppet. Should puppets be re-used after their creators are gone? How do lifeless, dead figures hanging static within the context of a museum display honour memory differently than reconstructed performance? Does the memory of performance linger in the mind to imbue the lifeless with a trace of life drawn from memory?

Feedback from academic specialists and peers will be sought throughout the project, which will then culminate in a final stage of evaluation and dissemination through publications and international conference presentations.