Interview with Jim Morrow – part 2

Happy new year!

Last October, we posted a portion of an (email) interview with our Artistic Director, Jim Morrow.  That portion of the interview is available here.  The remainder of his questions and answers are printed below.

Q: What type of puppets do you use in your performances? Who creates them?
A:
We are not a puppet company in the classic sense but a company that incorporates objects to tell stories. The objects that are more fully realized (with eyes, mouths, hands and feet, for example) we call our puppets. We have used traditional styles (hand, rod, marionettes or stringed, body, mouth or Muppet, and shadow) in past shows but design decisions are almost always based more on the unique challenges associated with adapting well known storybook characters into fully realized objects rather than on a particular puppet tradition. Essentially we first carve objects, or sculptures, and then learn how to move them through space by experimenting. Some of these sculptures have rods or strings incorporated and, as such, are considered traditional puppet styles but there can exist in any given play, many styles of puppets that are both traditional and new. There are no books we can refer to discover how to move these objects. We simply have to study and learn through experimenting and trial and error.

 

Q: Who composes the music you incorporate into your performances?
A: Music is a fundamental component of each Mermaid show and is a primary consideration from the early stages of development to completion. Music not only provides the requisite beat and rhythm that compliment the action but also adds a layer of emotional texturing that underscores each moment throughout the play. Steven Naylor is our principal sound designer and composer and we have been very fortunate to include his considerable skill and knowledge in our creative process for a very long time.

Q: Can you tell us more about the Institute of Puppetry Arts?
A:
Mermaid’s Institute of Puppetry Arts was created to provide training opportunities for anyone with an interest in learning the art of object movement and puppetry. Since the company’s inception forty-four years ago, puppetry has maintained a fundamental role in the development of each new play, and it has been integral in securing Mermaid’s unique place in the ecology of theatre for young audiences in North America and beyond.

Workshops: Through a variety of workshops, carefully crafted to serve the needs of both the general public and a theatre community increasingly curious about puppet construction and manipulation techniques, and with experts who are well versed in all aspects of puppet instruction, we annually reach hundreds of children and adults alike, both here at home and abroad. Puppetry instruction is also evolving in theatre programs offered by institutes and universities, where there is a growing curiosity about the medium and its application to core training.

Animotion: Our professional training session, called Animotion, is now recognized as one of the premier puppet instruction destinations in North America. The three-week long Intensive takes place each spring at our headquarters in Windsor and brings together ten participants from around the continent, most with limited knowledge of, or experience in, puppetry and object theatre. Each session is guided by a series of exercises designed to gently ease the participants from the early stages of learning the rudiments of manipulation, to fully realized moments complete with home made puppets and music.

Play Creation: The Institute of Puppetry Arts also boasts a play-creation component, with an emphasis on one-hour curriculum-based theatre pieces designed specifically for presentation in school auditoria. Developed collaboratively with specialists in the field of conservation biology and teachers of science, to date we have created two interactive productions that deal with issues relating to underwater marine biology (Sunken Treasures), and species at risk (Code Green).

 

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