PLAY: "… As fascinated spectator of a good puppet theater one automatically thinks that the player has to have great dexterity and skills. However, once you have the possibility to see the hands of the puppet player you will realize that he or she makes relatively sparse, yet very specific movements.
The actual work comes way before that time, though. The puppet player namely will have asked himself: How do I move? What happens in my body if I sit down, get up, walk, run, wave my hands, tiptoe, watch, discover something?
Observing himself he will have become aware of many of his motions, and in doing so he will have learned a lot about himself, his joints and his anatomy. In the course of time the puppet player will have gained a great deal of knowledge about his movements.
And yet, the more he paid attention the more he realized how differently people move and how many nuances there are in movements: a fat person walks in another way that a slender one will, a choleric type is different from a sanguine person, a dreamer has a different gait than an adventurous person, a child skips and jumps up and down whereas an adult moves about rather slowly.
The puppet player learned that he should not automatically transfer his own pattern of movement to the puppet, but has to empathize with its type and character. This is why he spends time pondering over the puppet's personality and assigns certain character traits to it …"

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