double #32


Creating from intuition, movement, rhythm and fortuitous circumstances without the aid of a previously written text; even extracting dramatic conflicts from the technical inadequacies of mechanical protagonists… In the eighteenth century we might possibly have conceded some of these factors to puppet theatre when it was in its baby shoes. By contrast preparations for a theatre play were concentrated completely on memorising and declaiming a literary text, as is clear from our lead article on Goethe’s theatre novel “Wilhelm Meister”. The thematic section of “double” deals with the changing concepts of rehearsal work and its related energy processes; with rehearsals as a place for exploring potentialities and asserting one’s own values in the process of artistic development over against the “finished” production. It is also about how open-ended rehearsals in contemporary puppet and object theatre often result in surprising performative solutions.