Here I am in the city of Omsk in Western Siberia. Activity in the Ethnographic Museum. Suddenly my eyes are attracted by the case where there are dozens of figures, it is Finno-Ugric tribes idols: the Menses and Chantes-that seem to greet each visitor. An inner drive pushes me to answer and I salute you as well. They are magnificent. Represent a permanent trace of the spirituality of early human generations. It is they and their imaginary world, which are the source of the first demonstrations and theatrical images, both sacred and profane.
art collections are full of idols and sacred figures gradually disappear from our memory. However, in this museum, there are also puppet shows, which keep the imprint of the hands of its creators and their handlers. In other words, keep those hands in the footsteps of the skill, imagination and human spirituality. Puppet collections exist in all continents and in almost all countries. Are proud to collectors. Research are places that keep the memory alive by providing an important test of the diversity of our discipline.
Art, like many other human activities, is subject to two trends: standardization and differentiation. Today we see that the two trends coexist at the activity level cultural. We can clearly see that the great facility to travel both by air and on the network, increase the number of contacts in various congresses and festivals, which leads to greater uniformity. Soon we will live in the city really McLuhan global.
This does not mean that we completely lost the sense of cultural difference but rather that a large number of theater companies now used similar expression means. Puppet styles such as Japanese or ningyo joruri wayang of Indonesia have been similar in Europe and America. At the same time, groups either Asian or African marionetísticas techniques used in Europe.
My friends tell me that if a young Japanese artist can be a virtuoso performing works by Chopin, an American may well become a teacher or a dalang joruri playing wayang purva. I would agree with them on condition that the puppeteer assimilate, not only technique but also bunraku whole culture that is associated.
Many artists are satisfied with the exterior beauty of the puppet who nevertheless gives viewers the chance to discover different art forms. In this way the puppet invade new territory. Even within the theater actor, has become a source of mixed metaphors.
This great expansion of the puppet figurative former is linked to a move inversely proportional to the space formerly occupied. This is due to the great invasion of the object and, on a larger scale to anything that touches the subject. For every object, all matter, subject to an animation, talks and demanding the right to theatrical life. So, from now on, the object replaces the figurative puppet, opening the artists a way to a new poetic language, to a creation that involves rich and dynamic images.
The imagery and metaphors in the past, have been characteristic of each type of puppet, differing from each other, have become today, the source expression of each individual puppet. So there is a new unique poetic language does not depend on the generic tradition but the talent of the artist., Their individual creativity. The standardization of means of expression.
has spawned its differentiation. The McLuhan global city has become its antipode. The different means of expression have become the instruments of the individual word that always prefer original solutions. Clearly, the figurative tradition of puppetry has not disappeared from our horizon. And we want to remain forever as a valuable reference.
Henryk Jurkowski
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