by Matthew Sitman
Eric Bass, a puppeteer, explains why the assumptions behind phrases like “puppet government” or “played him like a puppet” misunderstand what the art is all about:
As puppeteers, it is, surprisingly, not our job to impose our intent on the puppet. It is our job to discover what the puppet can do and what it seems to want to do. It has propensities. We want to find out what they are, and support them. We are, in this sense, less like tyrants, and more like nurses to these objects. How can we help them? They are built for a purpose. They seem to have destinies. We want to help them arrive at those destinies.
A simple example: What are the properties of a ball? It rolls, and sometimes it bounces. To put a ball onstage and have it never bounce or roll is a denial of what that ball is. Even if the ball does nothing, it can be said to be waiting to roll or bounce. A figurative puppet’s properties may not be quite so obvious, but they are there, and so is its character.
Analyzing the character will not get us very far. We have to discover who our performing partner is. This is true of its actions, its gestures, and its voice. Our cleverness in thinking of great things for the puppet to do or say will not help the puppet live. They will only draw attention to ourselves. If we try to impose them on the puppet, the piece we are performing will not be about the puppet at all. It will be about us, the manipulator. Or it will be about the conflict between us and our puppet.
The practice of our art, then, requires that we be the exact opposite of a controller. In fact, it requires that we step back and allow our puppets to perform their roles, their actions, their moments of life on the stage. It requires from us a generosity. If we try to dominate them, we will take from them the life we are trying to give them.