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"Object Theatre" an essay by pamella o'connor

Object Theatre by Pamella O'Connor "Object Theatre" is an area of theatre study now taught in several European countries. It is the marriage of imagery, puppetry and choreography, intended to create new 'tools' for theatre students and encourage the development of a new theatrical experience.

I was first exposed to this work by a greatly gifted German puppet artist and professor named Eno Podehl. I subsequently expanded my exploration of this work during a two month stay in Czechoslovakia in 1990 created to participate in the development of a new theatre piece by internationally acclaimed Theatre DRAK. While there, I also monitored classes at the Theatre School of Prague in order to assess the training received by Czech performing artists. At that school, I attended an end of the term showcase of the freshman class. I was struck by the ease, grace, and presence of each and every student. They were obviously very well trained. Part of that training included the exploration of objects and puppets.

After teaching a 21 hour program at Georgia Tech University, which culminated in a public performance of the work developed, I proved to myself that the results of study in 'Object Theatre' with young theatre talent are extraordinary. The Theatre Department Head at that time, Gregg Abott, simply could not believe it. He said he had never seen these students so focused, so completely un-self-conscious.

I believe that training in Object Theatre should be an area of study for every theatre student, regardless of their anticipated area of interest - acting, directing or design. Simply put, work in Object Theatre creates:

1. A more focused performer.

Through Object Theatre a performer learns to place his/her focus on the material they are working with, which conversely means they remove it from themselves. The work requires intense concentration. We are learning to receive information from objects, which means we must be very attentive. As we listen and explore, we experience a state of relaxation and focus that makes us totally open. This focused state of being, then becomes accessible to the actor in other areas of study; voice, movement, characterization, etc. The fact is, if an actor is engaged and focused on the material around them, whether it be objects, props, costumes, sets, or even words, exploring the energy that exists within them, then they will be less aware of themselves, more relaxed, and thus more accessible to the audience.

2. An activated performer.

Through Object Theatre an actor learns that all objects have energy; their own story to tell. Therefore, an actor trained to open him or herself to this, to use this in their work, will find their environment, all the elements that comprise his stage life, alive - feeding information to him, another 'energy' to interact with on stage. We all know the frustration of watching unharnessed energy bouncing about on stage. We also know an engaged, focused actor is a pleasure to watch. Object Theatre creates a focused actor as it increases the information sources available to the actor by viewing his/her "material" in a fresh, new way. Too, a theatre student destined to design or direct will be encouraged to create thoughtful, rich environments for his work.

3. An imaginative, well rounded performer.

As we reach the last stage of the work, which is usually setting a refined exploration of an object to music, we discuss the experience from the audience perspective. Certain guiding principles begin to emerge. We have learned to allow the object full expression of it's energy - (the billowy piece of cloth) to almost resolve before we move on. In so doing, we experience what is called "the moment before". The moment before the next - the Celtic in between state - which carries a sense of excitement, even danger for a viewing audience because it is an active, participatory state. They have shared in the work because the images we have created with our objects have been viewed, interpreted and completed by them.

Ultimately, the student expands his definition of theatre. As he/her performs their choreographed exploration they join the many theatre companies such as Cirque de Soleil, Blue Man Group, Julie Taymor, Paul Zaloom, Basil Twist and others who are stretching the boundaries of the performing arts.

Students who have participated in this work love it. So do those who observe the fruits of our labors. One participant of the workshop at Georgia Tech commented, "I believed in the work.........., but I really didn't believe it would hold my friends like it did. They loved it!"

I find this work thrilling. I have seen the benefits. This brief article is only meant to serve as an introduction to a rather complicated subject. If you would like to discuss this concept further....

Contact: Pamella O'Connor
89 Martin Ave.
Asheville, NC 28806
PH: 828.254.3174
po@poconnor-puppets.com