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• W1606716895 abstract "Peter J. Wilson and Geoffrey Milne, The Space Between: The Art of Puppetry and Visual Theatre in Australia (Currency Press: Sydney, 2004) This book fulfils a need even more marked than that which produced Milne's other recent book, Theatre Australia (Unlimited. Both are partly inspired by a paucity of documentation of important bodies of work produced beyond the mainstream, and both perform important tasks in opening up areas for further research rather than closing them off. In doing so, both skate over the surface of the work they survey, but this is a necessary pioneering journey, particularly in the case of The Space Between. This is the only book to concern itself with Australian puppetry since Maeve Vella and Helen Rickards published Theatre of the Impossible in 1989, and it is a highly readable and attractively presented text accompanied by a wonderful collection of photographs. Its very short bibliography indicates that the published record on Australian puppetry otherwise remains very thin. As Wilson and Milne point out in chapters on writing and designing for puppetry, their object of study is so inherently collaborative, so much generated in workshop or rehearsal, and so centrally visual as to be very difficult to document in the conventional form of a script. To make the point, their bibliography includes just three puppetry scripts published in the thirty years which they survey, two by John Romeril (which demonstrate that a fairly reasonable job of it can be done), and Daniel Keene's script of the almost legendary Cho Cho San, which, beyond an introductory note, makes no reference to puppets throughout what reads as an orthodox, dialogue-based drama text. Their book serves as an excellent argument in support of their plea for 'the print or CD ROM publication of a range of puppetry texts' (103). They cast their net wide, defining puppetry as 'forms of theatre in which objects are manipulated in order to create theatrical images, abstract or realistic' (1), but sort their catch down to 'an indicative range' of work from the last thirty years which they describe as stemming from a number of companies formed in the 1960s and 1970s. This nonetheless covers work ranging from Norman Helherington's Mr Squiggle through to Handspan's Cho Cho San, Performing Lines' The Theft of Sita, erth's and Snuff Puppets' spectacular outdoor performances and eventually to the opening ceremony of the Sydney Olympics, which gave Australian puppetry (and in particular Nigel Triffitt, Nigel Jamieson and Wilson himself, each of whom directed a ten-minute segment) a gigantic international audience. This journey takes us from the dominant kids' and/or schools' market in which most of the work began, and much of it continued, to the mainstream theatres, alternative performance venues, community contexts and outdoor sites into which it moved in the 1970s and 1980s. Their focus is essentially on a period beginning with the 'landmark year' of 1976, the year in which Richard Bradshaw took over the Marionette Theatre of Australia and introduced a whole new repertoire of puppetry, and in which Nigel Triffitt devised and directed for the Tasmanian Puppet Theatre Momma's Little Horror Show, 'an image-based, surreal and plotless spectacle piece' (41) owing more to the Italian Futurists, Rene Magritte and the hippy ambience of Pink Floyd than to the kids' entertainment which had been the staple of the puppetry companies of the 1960s. Both broke 'the long-standing nexus between puppets and children' (2), and contributed to the inauguration of an eclectic and exciting puppetry movement which, with the enthusiastic support of the Australia Council's Theatre Board and State and Territory arts agencies, blossomed in the 1980s and has since survived the general cut-backs of the late 1990s. Wilson's long and peregrinatory career as puppeteer, director and artistic director with many of the most important companies in the country and Milne's encyclopaedic knowledge of recent Australian theatre practice combine to make the book's broad survey possible, and interviews with twenty-six major figures in the history of the boom period (all but two of them by Wilson) form its bedrock. …" @default.
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• W1606716895 title "The Space Between: The Art of Puppetry and Visual Theatre in Australia" @default.
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