1st International Conference PuppetPlays
14 - 16 October 2021
Literary writing for puppets and marionettes in Western Europe (17th - 21st centuries)
- Université Paul-Valéry Montpellier 3, Montpellier, 14-16 October 2021
1st International Conference PuppetPlays
The ERC PuppetPlays research programme focuses for its first international symposium on the contribution of writers, poets, novelists or dramatic authors to the forging of a dramaturgy specific to puppets.
Proposals for papers, of a duration of 20 minutes, should arrive at these two e-mail addresses (didier.plassard@univ-montp3.fr and carole.guidicelli@univ-montp3.fr) no later than 30th April 2021. They will take the form of an abstract in English or in French of 300 to 500 words, along with a bio-bibliography and the author’s personal contact details.
The working languages of the conference are English and French.
The organising committee will communicate its decisions in June 2021.
"From Johann Wolfgang von Goethe to Ramón del Valle-Inclán, from Charlotte Charke to Liliana Ugolini, from Alain-René Lesage to Ernst Toller, from Alfred Jarry to Italo Calvino, from Gerhart Hauptmann to Howard Barker, from Lewis Carroll to Marion Aubert, from Salvador Espriu to Tankred Dorst, from Federico García Lorca to Thomas Bernhard, from António José da Silva to Liliane Atlan, from Paul Claudel to Nelly Sachs...
Hundreds of European writers, some well-known, others less so, have written or write for puppets or marionettes. Some, like Ben Jonson, Henry Fielding, Restif de la Bretonne, Massimo Bontempelli, Arthur Schnitzler, Luigi Pirandello, Heiner Müller, have inserted scenes for puppets or marionettes into their plays. And for half a century, following in the footsteps of Dario Fo, Armand Gatti or François Billetdoux, plenty of playwrights have contrived to have living and animated figures interacting on stage.
But what does “writing for puppets or marionettes” mean in real terms? Which material images does this theatrical tool summon up, and to what end? Which work processes are being employed here? What kind of specific constraints – or, on the contrary, what kind of new freedoms – can be found on this occasion? (...)."
All info here:
https://puppetplays.www.univ-montp3.fr/fr/evenements/premier-colloque-international-puppetplays
Literary writing for puppets and marionettes in Western Europe (17th - 21st centuries)
- Université Paul-Valéry Montpellier 3, Montpellier, 14-16 October 2021
1st International Conference PuppetPlays
The ERC PuppetPlays research programme focuses for its first international symposium on the contribution of writers, poets, novelists or dramatic authors to the forging of a dramaturgy specific to puppets.
Proposals for papers, of a duration of 20 minutes, should arrive at these two e-mail addresses (didier.plassard@univ-montp3.fr and carole.guidicelli@univ-montp3.fr) no later than 30th April 2021. They will take the form of an abstract in English or in French of 300 to 500 words, along with a bio-bibliography and the author’s personal contact details.
The working languages of the conference are English and French.
The organising committee will communicate its decisions in June 2021.
"From Johann Wolfgang von Goethe to Ramón del Valle-Inclán, from Charlotte Charke to Liliana Ugolini, from Alain-René Lesage to Ernst Toller, from Alfred Jarry to Italo Calvino, from Gerhart Hauptmann to Howard Barker, from Lewis Carroll to Marion Aubert, from Salvador Espriu to Tankred Dorst, from Federico García Lorca to Thomas Bernhard, from António José da Silva to Liliane Atlan, from Paul Claudel to Nelly Sachs...
Hundreds of European writers, some well-known, others less so, have written or write for puppets or marionettes. Some, like Ben Jonson, Henry Fielding, Restif de la Bretonne, Massimo Bontempelli, Arthur Schnitzler, Luigi Pirandello, Heiner Müller, have inserted scenes for puppets or marionettes into their plays. And for half a century, following in the footsteps of Dario Fo, Armand Gatti or François Billetdoux, plenty of playwrights have contrived to have living and animated figures interacting on stage.
But what does “writing for puppets or marionettes” mean in real terms? Which material images does this theatrical tool summon up, and to what end? Which work processes are being employed here? What kind of specific constraints – or, on the contrary, what kind of new freedoms – can be found on this occasion? (...)."
All info here:
https://puppetplays.www.univ-montp3.fr/fr/evenements/premier-colloque-international-puppetplays