In the fall of 2011, I started a series of informational posts on the Puppet Slam Network website about organizing evenings of short-form puppetry and object theatre for adults.
Topics included: the significance of puppet slams, the history and future of slams, sources of inspiration, working with a fiscal recipients, fabulous failures and the lessons we learn, hosting and performing advice, self promotion, and how to get the most out of the Puppet Slam Network.
August 19th, 2012
“I like to laugh at jokes that are on a more adult level of humor, whether it’s bawdy, or sophisticated…” (More)
June 14, 2012
Leading Puppet Slam Artists reflect on where they see the Puppet Slam movement in the future. “I see more collaboration between puppeteers and musicians.” (More)
June 3, 2012
“When choosing a fiscal recipient, select your partner organization carefully.” (More)
May 17, 2012
“Maintain a spirit of adventurousness and experimentation but also never forget the importance of the audience.” (More)
September 3, 2011
“Being on an island can be quite isolating and the sense of the puppeteers being in a wider dialogue with puppeteers from the US I think has helped artists here see a wider variety of work.” (More)
I published a series of 24 interviews with puppet slam artists and curators:
Enda O. Breadon
The Puppet Slam Network fostered connections between independently produced puppet cabarets, so that puppet artists knew where they could perform, venues could find puppet artists, and audiences could enjoy an intimate, tactile, and compelling form of entertainment.
Ibex Puppetry (the parent company of the Puppet Slam Network) was dedicated to promoting the fine art of puppetry in all of its mediums. Founded in 2000 and receiving multiple UNIMA (Union Internationale de la Marionette) awards, Ibex Puppetry supported puppet art in the mediums of film, stage, gallery exhibits, workshops and artist presentations.