The Puppet As a Figure of the Other Final P PIRIS 2013
THE RISE OF MANIPULACTING THE PUPPET AS A FIGURE OF THE OTHER SUBMITTED IN FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF PHD PAUL CHARLES RENÉ TED PIRIS CENTRAL SCHOOL OF SPEECH & DRAMA UNIVERSITY OF LONDON 2011 1 DISCLAIMER I, Paul Charles René Ted Piris, understand the Central School of Speech and Drama definition of plagiarism and declare that the submission presented here is my own work. Information derived from published or unpublished work of others has been formally acknowledged. Signed: Print name: Paul Charles René Ted Piris Date: 28 th October 2011 2 ACKNOWLEDGEMENTS This research has been supported by the Arts and Humanities Research Council, Central School of Speech and Drama, and a research residency in May 2008 at the Institut International de la Marionnette in Charleville-Mézières. I would like to thank my supervisors Professor Andrew Lavender and Ayse Tashkiran, for their constant support and advice, as well as Professor Ana Sanchez-Colberg, Dr Anthony Fisher, Dr Eleanor Margolies, Sandra Margolies and Penny Francis for their precious help. I am grateful to the artists who have collaborated with me throughout this research: Professor Ana Sanchez-Colberg in Seaside , Aya Nakamura in Urashima Taro and Seaside , Kristin Kerwin and Juley Ayres in The Maids , Zoilo Lobera, Boris Kahnert and Amadeo Rosenheim in Postalgia . I would also like to thank Neville Tranter, Nicole Mossoux and Duda Paiva for their generosity and their time to share with me their artistic practices, and Monika Kita for documenting with talent my research. I am indebted as well to Ken Mizutani, Roberto Puzone, Nick Paddy, and Adam Parker for facilitating my practice research at Central School of Speech and Drama.
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