A decade of the Puppet Slam Network (curatorial)

Marsian-PSN-Slide

On September 2nd, 2016, I finished my tenure at the Puppet Slam Network (PSN), which I co-founded in 2005 with Heather Henson and through support from her production company, Ibex Puppetry.  As PSN coordinator for just over a decade, my work focused on cataloguing, connecting, supporting, and generating awareness for evenings of short-form puppetry for adults.  

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Who’s the Puppet Now?, Calgary (published)

A portrait photo from my performance, Fudgie’s Death during it’s run at the International Festival of Animated Objects was included in Who’s The Puppet Now?, a coffee table book of photos by Sean Dennie published by the Calgary Animated Objects Society.

Marsian De Lellis, Calgary, 2011, photo: Sean Dennie
Marsian De Lellis, Calgary, 2011, photo: Sean Dennie

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Portland Press Herald, (Puppet Slam Network)

On January 28th, 2013, The Portland Press Herald briefly covered my work with the Puppet Slam Network as part of a larger story on Blainor McGough, curator of King Friday’s Dungeon in Portland, ME.

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The Puppetry Journal (Press)

In the Spring of 2012, The Puppetry Journal ran a substantive cover story on the world of puppet slams, featuring my work as co-founder of The Puppet Slam Network and my interviews with puppet slam artists. The Puppet Slam Network fostered connections for 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.   Continue reading “The Puppetry Journal (Press)”

Puppet Slam Network (blog)

On September 2011 – I began a series of informational blog posts on the Puppet Slam Network website that addressed topics related to organizing evenings of short-form puppetry and object theatre for adults. Topics included: the significance of puppet slams, puppet slam history, the future of slams, sources of inspiration, working with a fiscal recipient, learning from fabulous failures,  advice on hosting and performing in slams, self promotion, and how to get the most out of the Puppet Slam Network.

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Object/Fetish, Calgary (Talk)

On March 13th, 2011 at 9:00PM, I presented my multi-media artist-talk, Object/Fetish: Staging the Suspension of Disbelief in Every Day Life at Club Sapien, a short-lived inclusive queer nightclub known for its community outrech in Calgary. My presentation of Object/Fetish was made in conjunction with the Calgary Animated Object Society (CAOS) and their International Festival of Animated Objects.

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Handmade Puppet Dreams, Calgary (appearance)

On March 13th, 2011, I introduced a screening Handmade Puppet Dreams at the Plaza Theatre in Calgary, as part of the International Festival of Animated Objects, curated by Xstine Cook, and produced by CAOS (The Calgary Animated Objects Society).

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Calgary Herald (interview)

calgary herald merge2-edit Calgary Herald Press 2011

On March 12th, 2011,  The Calgary Herald published an interview that described my work as “light years away from the child-oriented Muppets universe that Jim Henson introduced.” While at the International Animated Objects Festival, I performed Fudgie’s Death, presented an artist-talk,  Object/Fetishand introduced a Handmade Puppet Dreams screening.

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Growing Up Linda – Fudgie’s Death, Calgary (performance)

On March 11th and 12th, 2011, I performed Fudgie’s Death at International Festival of Animated Objects in Calgary as part of their Dolly Wiggler Cabaret. While in Calgary, I was also photographed by one of the festival organizers, Sean Dennie, I was interviewed by the Calgary Herald and a local radio station, presented my lecture, Object/Fetish at Club Sapien, and introduced a screening of Handmade Puppet Dreams.

CJOB, Winnipeg (Puppet Slam Network Press)

On July 7th, 2010, Dan Walechuck appeared on CJOB (Winnipeg) to talk about The Puppet Slam Network and the Winnipeg Puppet Slam, (which I performed in). The Puppet Slam Network, which I co-founded with Heather Henson, fostered connections for 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.  

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