Once again Puppet Animation Scotland has pledged support for new work, directly contradicting my often cynical attitude toward arts organizations that lose resources in a flurry of administration and therefore strain what goes toward the actual creation of new work. Not here. I know that first hand.
While this is a much needed gesture for the project it is typical of PAS. This spring they produced Pony Pie’s The Hard Man at their annual festival, Manipulate. But when the actor involved dropped out PAS Director Simon Hart stepped in to perform the role. Not only was he producing a festival he was giving his time and creative energy toward this performance. And he was a terrific collaborator. Obviously he couldn’t have done this without his partner in crime at Puppet Animation Scotland, Emma Whitters.
This annual festival of visual theatre, Manipulate, is a strong example not only of unique programming in the Scottish context but is a valuable resource in the UK for the creation of new object-based performance. For example, next year you’ll have the opportunity to see Belgian Nicole Mossoux and France’s Gisele Vienne’s “Jerk” as well as 1927‘s latest “The Animals and Children Took to the Streets.” But PAS is once again producing new work from emerging artists (another Snapshots programme) as well as Edinburgh’s Puppet Lab (creators of Big Man Walking, yet another PAS supported project!) Above all PAS offers direct developmental opportunities through valuable masterclasses and workshops. Next year couldn’t be a bigger deal with the week-long course with Compagnie Philippe Genty.
I’m thrilled to include this PAS in promotional material for How Keanu Reeves Saved the World and right here on pony-pie.com.