Awareness Through Puppetry
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Awareness Through Puppetry: Self-image in Feldenkrais Method and Material Performance by Krystin Elinor Fredricksson Royal Holloway, University of London Thesis submitted for the degree of PhD Department of Drama and Theatre Studies 2017 1 Signed Declaration I, Krystin Elinor Fredricksson, declare that this thesis is entirely my own work. Where I have consulted the work of others, it is always clearly stated. Krystin Elinor Fredricksson 13 December 2017 2 Abstract This thesis investigates somatic movement and puppetry as tandem practices. It draws particularly on the somatic education approach of Moshe Feldenkrais, originator of the Feldenkrais Method (FM) and its two modalities; verbally guided Awareness Through Movement and hands-on Functional Integration lessons. I pinpoint self-image in FM, which relates to a person's kinaesthetic awareness of herself as she acts, as a key concept for theorizing puppetry, reframing it as person-image to avoid some of the theoretical pitfalls of 'self'. I re-examine the idea of body-image in Paul Schilder, Feldenkrais's source, and identify the importance of his work for critical thinking on person- image and performance. Relating person-image to the trainings and writings of Jacques Lecoq, Dennis Silk and Heinrich Von Kleist, I analyse the ways in which it can include objects, puppets and materials and propose a new practice, Awareness Through Puppetry, which goes beyond an application of FM in puppetry training. I apply the fresh understanding of person-image I have developed to specific performances by Pierre Tual, Ilka Schönbein and Xavier Le Roy. Throughout the thesis I refer to Tim Ingold's concept of the 'meshwork', weaving lines in, out and around my practice and thinking, connecting them to critical thinking more broadly in performance studies and beyond. My contributions to knowledge in this thesis are an assessment of Schilder and Feldenkrais's work applied to somatic performance practice in puppetry, which I understand as an approach as much as an outcome, leading to the practice of Awareness Through Puppetry, and a fresh approach to performance analysis through the lens of person-image. I situate the thesis in a 3 broad ecological context where puppetry has a new subversive role as a somatic technology through which it is possible to discover something about what it is to be human and nonhuman, and how these interact. 4 Acknowledgements Writing a PhD is both a lonely and collective act. Here I nod to my support meshwork in the real and virtual worlds. I would like to thank my supervisor, Libby Worth, for her patience with the gestation and birthing of this thesis, for her ability to combine gentleness and toughness, and for her knack of finding the light switch when I was in the dark. I also extend heartfelt thanks to my advisor, Matthew Cohen, for his rigour and his generosity with the depth and breadth of his knowledge. Both have challenged and encouraged me, and Libby particularly has been an invaluable and constant support. Now for the deceased. I thank Moshe Feldenkrais for the inspiration of his life's work and for creating his Awareness Through Movement lessons which have saved me from the physical demands of researching and writing a thesis! (Who knew?!) I am grateful to Myriam Pfeffer for first bringing his work alive for me. I thank Jacques Lecoq for my foundations in theatre, Krikor Belekian for an early inkling of the meshwork, Ken Campbell for shaking things up, Christopher Leith for transforming my approach to puppetry and theatre- making, and my mum and dad, Jean and Karl, for introducing me to theatre, dance, silliness and critical thinking at a young age. I thank all the artists, practitioners and students with whom I have worked, workshopped, communicated or conversed during the thesis and before it, especially Rene Baker, Stephen Mottram, Nicolas Gousseff, Claire Heggen, Jean-Louis Heckel, Pierre Tual, Sylvie Baillon, Iestyn Evans and Bénédicte Holvoote. Claire Vialon deserves a special mention for our discussions, Feldenkrais/puppetry practitioner exchanges, friendship and 5 Parisian hospitality (and looking after a screaming 10 month-old Pansy on a hot day in Paris while I interviewed Claire Heggen!) I thank my collaborators on Cooking Ghosts, a performance made during the PhD: Georgina Roberts, Seiriol Davies, Helen Mugridge, Elena Pena and Dan Copeland. And all those from earlier projects, too numerous to mention. I thank the women improvisers I've played with in Permission Improbable and the support from 'Mothers who Make' for keeping me ticking when I had a young baby/child and an identity crisis as a scholar-artist-mother. Matilda Leyser is central to both projects. Thank you. I thank the AHRC and Royal Holloway for their funding and the Institut de la Marionnette in Charleville-Mézières, France, for two three-week research residencies in their Centre de Documentation, one with a bursary in April 2012, and one without in June 2013. Robert Vesty has been a great friend and source of support; I would like to thank him for reading and discussing the thesis as it evolved on many occasions (and for beds on boats and floors). Lastly, I thank my friends and family for their patience, support and spare rooms/floors to sleep on over the years. Particularly my funny and wild daughter, Pansy Fredricksson, my sisters, Katy and Erica Fredricksson, my local motherhood - Nadia Bailey, Catriona Blackburn, Clare Kemsley and Aurelie Riaud, my far-flung motherhood - Maria Andrews, Valentina Fago, Mariette Arnaud, Louise Hart, Yve Hall and Dot Brady, and Sam Bailey and Steve Baggs. And thanks to Stuart Ocock. 6 Contents Abstract 3 Acknowledgements 5 Contents 7 Chapter 1 Introduction 9 1.1 A chorus of voices 10 1.2 Critical tools: Meshworks 17 1.2.1 Critical tools: 'Umwelt', 'Lebenswelt', 'Innenwelt' 21 1.2.2 Critical tools: ‘actants’ and agency 23 1.3 First approximation: Feldenkrais Method 26 1.4 First approximation: ‘self-image’ 30 1.5 First approximation: ‘puppetry’ and ‘material performance’ 38 1.6 Methodology, structure and case studies 45 Chapter 2 Personal grounding 49 2.1 Why connect Feldenkrais Method and puppetry? An anecdote 49 2.2 Second approximation: Feldenkrais Method 52 2.3 Second approximation: self-image 57 'Thing interlude #1: Teddy' 60 2.4 Second approximation: puppetry and material performance 62 Chapter 3 Schilder's mercurial body-image 71 3.1 Introduction 71 3.2 Movement, action, function: the enmeshed body-image 74 3.3 Schilder and the community of body-images 81 3.4 Schilder on ‘outside space’ 85 3.4.1 Objects and touch 89 3.4.2 Agency 95 3.4.3 Structure 97 3.4.4 Focus 101 3.4.5 Gravity 103 3.4.6 Expanding body-image 106 3.5.1 Body image since Schilder 109 3.5.2 Towards somatic ethics 117 3.5.3 Towards somatic ecology 120 7 Chapter 4 Feldenkrais's self-image: ‘something invisible, visible’ 123 4.1 Introduction 123 4.2 Feldenkrais and self-image 128 4.2.1 'Improvement' 133 4.2.2 Awareness (through movement) 135 4.3 Why change? Is FM a normative practice? 141 4.4 Self-image in ATM 151 4.5 Self-image in FI 158 4.6 Feldenkrais, Nora and puppetry 161 4.7 Playing with self-image: beginnings but no endings 167 Chapter 5 Towards training: Awareness Through Puppetry 171 5.1 Transition from FM to puppetry 171 5.2 Towards 'Awareness Through Puppetry' 175 5.3 Things as guides / miming the world (Jacques Lecoq) 183 5.3.1 Things as guides / monomotivation and intention (Dennis Silk) 187 5.3.2 Things as guides / perfection, awareness, readiness (Kleist) 198 5.4 Skeletons as guides 207 5.5 Meshworks and skill 211 5.5.1 The puppeteer-puppet relationship 215 5.6 Imagining things 217 Provocations for a puppeteer (Awareness Through Puppetry) 222 Chapter 6 Case Studies: Protean person-images in performance 225 6.1 Preamble 225 6.1.1 Theoretical groundwork: a critique of ‘manipulacting’ 225 6.1.2 From Self-Other to dynamic person-image 228 6.2 Pierre Tual and company / Fastoche 231 6.3 Ilka Schönbein / Chair de ma chair 248 6.4 Xavier Le Roy / Self Unfinished 268 Chapter 7 Conclusion 288 'Thing interlude #2: Noodling' 294 Bibliography 298 Workshops and trainings 324 8 Chapter 1 Introduction When I was fifteen, the stillness of my mother in her coffin was shocking. The coldness of her brow that I kissed, like stone. The fixity of death. No longer in time. No future, except that of decay. No self, no person present. Movement is life indeed. The warmth of my soft-breathing child asleep. The delicate movement of her breath that I sense, even in the dark, as I check on her, accompanied by its gentle, intermittent sound. The puppet has multiple possible futures and only a very slow process of decay ahead, generally speaking. It is brought to life, and in a sense it really has a life of its own; it is an extension of the person who gives it movement and breath. It is a way of extending and exploring her self-image. In this thesis I use examples from puppetry and material performance to explore the notion of person-image, a development from Schilder’s ‘body-image’ and Feldenkrais’s ‘self-image’, and its place in a radical performance ecology. * Feldenkrais Method (FM) is a somatic education process that uses the development of situated movement awareness and environmentally anchored movement for neuromuscular retraining. In the method, which is named after its founder, Moshe Feldenkrais (1904-1984), self-image broadly refers to kinaesthetic awareness of oneself in action.