Puppets - Stop Motion: Passion, Process and Performance - page 33

are used to show some sort of rite of passage, where the puppet is a naughty, carefree spirit
unrestricted by social conduct, which is then forced to grow up and conform to more socially
acceptable behaviour. Such puppets are feared by grown-ups as a reminder of what has been
lost. Clara's journey with the Nutcracker, at its most basic, is that she learns to stop playing with
a toy man and welcomes the attention of a real man, but I cannot help feeling that marrying
a bland prince is far less interesting than the adventures with i ghting mice, wooden soldiers
and kingdoms of sweets. Just as we can be deeply perturbed by puppets, as we can never
quite be sure that they are just a lump of wood, they do hold forbidden pleasures. We may be
unsettled, but secretly we are probably jealous of their non-conformity. Creating an image in
substantial three dimensions or in a credible likeness cannot help but give it some suggestion
of life, especially if it is done intimately by hand, and with this life we can project all manner of
fantasies and character.
The puppet and puppeteer
Most puppets are inextricably linked to the puppeteer, or at least a presence, with the puppet
often having the freer life, ironically. In Thunderbirds we can see the strings of the operator;
Pinocchio is much a part of Geppetto; the Monster forever confused with Frankenstein; Punch
and Judy linked to the operator by the presence of the operator down below in the booth;
the doll in Coppelia part of Coppelius as much as Olympia is part of Dr Coppelius in Tales of
Hof man ; Petruschka owned by the fairground barker, and so on, but in stop motion, the
performer is removed, even if their personality is evident in the performance. In most cases
the audience has no desire to know about the performer to enjoy the work. Names such as
Trinka, Harryhausen, Nick Park, Tim Burton and George Pal will lead to expectations because
of a history, but generally the audience is happily oblivious of who is animating a specii c stop
motion puppet. However, like actors playing roles dif erently, animators perform puppets
dif erently. This can be a strength, but when several animators are working together on a series,
this can be dii cult. Each animator will interpret something dif erently, and have their own
quirks, responding better to some situations than others, and thank goodness for that.
Do you think that you animate in a particular way? Is something of your
personality in every shot?
JD - I hope so.
TB - No. If I am animating a sad princess, I know my approach to her performance will be different to
animating a ferocious Minotaur. The character is the most important thing, not my own personality.
RC - I can't say that I do something different. But I try to give a sense of weight, which is important, and
somewhat of a fl ow, as rhythm is important.
DC - Yes, everyone has their own technique and style and a favourite palette of work to choose from that
they know will work. You're your own best reference.