The interface between dance/choregraphy and puppets/masks is a striking one. In all these fields action comes before the word. Movement awareness and dance are one of the key means by which we give life to masks and puppets.
This can be seen historically in the connections between folk dance, carnival dances, ballet and more recently in the dance theatre work of the Ballets Russes, Kurt Jooss, George Balanchine, Erick Hawkins and Alwin Nicolai.
In the puppet theatre if you dance your puppet will be able to dance. During the Krishnaleela Tour of 1991 the stick dance from Gujarat in India was taught in our Centre and then replicated using glove puppets.
In the mask theatre the roots of Noh drama are located in Saragatu while in Bali the Topeng masks are performed by a solo dancer. The silhouette films of Lotte Reiniger are conceived in terms of dance and without the movement awareness that comes from stop-frame animation many animated films would not have seen the light of day.
Our future plans for the Centre consequently involve making provision to expand the existing theatre provision to include a sprung dance floor and mirrored wall.