Research residencies

Finalization of preparations for the online publication of Temporal family documents on the PAM, scheduled for 2021.

The puppets belonging to the Temporal company have gradually been lost over time. Neither Jean-Loup nor his father Marcel before him had anticipated the need to preserve their works, as other companies do today. Today, very little remains of this company. For several years now, Renaud Robert and the Effigies Théâtres company have been working with the descendants of the Temporal family to research and reconstruct this collection and ensure its long-term preservation.

The beginnings of a thesis on the history of object theater, and the development of her teaching methodology in this field as a new assistant to a university professor.

Originally from Ukraine, Daria Holovchanska has recently completed a Master’s degree at the Theatre Academy in Białystok, Poland. Her Master’s thesis, which she defended a few months ago and is currently translating from Polish into Ukrainian, English and French, focuses on the work of the French puppeteer Ezequiel Garcia-Romeu. Daria Holovchanska had previously been awarded a research residency at the Institute to complete this work.

Research for his thesis entitled Puppet arts and the written press: on the trail of cultural life in Montreal and Paris (1948-1958).

Research on pedagogy as part of a research project on professional training in contemporary puppet theater, which will culminate in the publication of a book.

Laurette Burgholzer, who holds a PhD in theatre studies and is a visual artist, was  to consult the collections at the Documentation Centre and to observe the teaching delivered at ESNAM.

Research into the transmission of girdle puppetry and the history of Chinese girdle puppetry to flesh out the BatYsse exhibition on Gaston Baty and his own artistic and educational practice.

The “Grammar of Manipulation”, formulated by Gaston Baty and his troupe “‘Marionnettes à la française”, aimed to establish a common vocabulary for actors and puppeteers. Transcribed by André-Charles Gervais, it remains a key reference for the teaching of glove puppetry. Gabriel Hermand-Priquet explores its development, drawing on his training with Yeung Faï to adapt these techniques to the contemporary training of puppeteers.

Research into the transmission of girdle puppetry, with a view to writing a collection of exercises for practicing this technique.

Puppeteer Brice Coupey is regarded as one of Alain Recoing’s foremost successors in the art of glove puppetry. An experienced teacher, he has taught at the Théâtre aux Mains Nues and at ESNAM, as well as on professional training courses.