A review by Malcolm Jack in the Scotsman, characterized Growing Up Linda’s run at the 2008 Edinburgh Fringe as “colorful, elaborate, nightmarish”.
Continue reading “The Scotsman (review)”
During it’s run at the Edinburgh Fringe, Three Weeks, gave Growing Up Linda four stars and noted that it’s “debt to celebrity-obsessed daytime television brought the fusion of trashy and glam to its peak.”
Continue reading “Three Weeks, Edinburgh (review)”
On Friday, August 8th, 2008 Growing Up Linda premiered at the Edinburgh Fringe Festival.
Continue reading “Growing Up Linda, Edinburgh (Premiere)”From May 7th-10th 2008, The Cotsen Center for Puppetry and the Arts and CalArts School of Theater presented a full workshop of Growing Up Linda in Valencia, California,
Continue reading “Growing Up Linda, Valencia, (workshop)”
In 2008, I was the recipient of funding from the Office of the President at California Institute for the Arts for the workshop of Growing Up Linda and premiere at Venue 13 in Edinburgh.
Continue reading “CalArts, Office of the President (support)”
In 2008, I was the recipient of funding from UNIMA-USA for the run of Growing Up Linda at the Edinburgh Fringe.
Continue reading “UNIMA-USA (Support)”
In 2008, I was the recipient of an Interdisciplinary Grant from the California Institute of Arts for a workshop of Growing Up Linda and the premiere at Venue 13 in Edinburgh.
Continue reading “Interdisciplinary Project Grant – 2008 (support)”There have been many exciting developments integrating new technologies with puppetry – from the machinima’s live manipulation and rendering of three-dimensional graphics found in the virtual puppetry of the Jim Henson Company’s Meet the Skrumps, to advances in robotics, like wireless servos responsible for the facial expressions of the puppets in Team America. Audiences have witnessed the combination of video and puppetry in the development of video ventriloquism (central in Evan O’Television’s cabaret acts), the use of video Foley tables in Cynthia Hopkins Accidental Nostalgia and most popularly, the use of live feeds, otherwise known as “I-MAG”. In puppetry, I-MAG, an abbreviation for “image magnification”, involves creating a live feed of all a performance captured with video camera and viewed simultaneously on a monitor or projection screen. In this paper, I will be exploring the use of I-MAG in contemporary puppet theatre – excavating its roots and looking at its evocative range such as uncanny doubling, changes in scale, cinematic effects, economy of space, and a reframing of the proscenium).
Continue reading “New Technologies in Puppetry: I-MAG (paper)”
On October 28th, 2007, I curated Puppets from The Edge at Mad Cow Theatre in Orlando theatre as part of the Orlando Puppet Festival. The evening consisted of short-form puppetry for adult audiences from a variety of artists.
Continue reading “Puppets from The Edge 2007, Orlando (curatorial)”
