Seeing this deliberate use of actors of various sizes made me think of the size variance possible between constructed actors, such as puppets (who after all can be made from anything, and pretty much have been), and how size connotes power, or its inversion. As does corporeality. As does motion . . . . In Under the Poppy, the puppets are life-size, child-size, slightly larger than an open palm; made horse-headed, with a keyhole for a heart, a bag of hunger on a set of strings, a soft-breasted beauty who cries real tears, a fall guy without even a mouth to cry out when he’s cracked in two. Par exemple, look how lively is this pale gentleman . . . .E pur si muove.
This entry was posted
on Monday, February 9th, 2009 at 5:07 pm and is filed under Miscellany.
You can follow any responses to this entry through the RSS 2.0 feed.
You can leave a response, or trackback from your own site.

2 comments so far
Leave a reply