PUPPET THEATRE FESTIVAL LUTKE 2012 THE MASK, THE BONES AND THE MATCHES

Since its very beginning, puppetry has been defined by a special relationship between the puppet, the puppeteer and the audience in the sense of a fluid communication triangle that transpires between the three. The 2012 Lutke Festival offered three ‘miniatures’, that is, three performances that each construct their own special communication relationship, which both in terms of structure as well as in terms of content belongs totally to the field of performance art; they are Go! performed by Polina Borisova, Little Suicides by Gyula Molnár and adapted/performed by Carles Canell, and Happy Bones by Matija Solce. In this article, the link with the level of performativity is fleshed out through a comparison with Pure Performance by Jaka Lah, which was conceived as part of the project Via Negativa. The text emphasizes the dual mode of viewing, which requires a simultaneous reading of individual parts and of the whole and which (despite the exactitude of performance) is based on a special dynamic with an implicit possibility(ability) of improvisation and a constant inclusion of the spectatorLutkarstvo vse od začetkov opredeljuje poseben odnos med lutko, lutkarjem in občinstvom v smislu pretočnega komunikacijskega trikotnika, ki poteka na tej relaciji. Festival Lutke 2012 je v letošnjem letu ponudil tri »miniaturke«, tri predstave, ki gradijo vsaka svoje posebno komunikacijsko razmerje, ki tako po strukturi kot vsebini sega že povsem na podrocje performansa; gre za predstave Pojdi! v izvedbi Poline Borisove, Mali Samomori Gyule Molnarja ter priredbi in izvedbi Carlesa Canella in Srečne kosti Matije Solceta. Povezava z ravnjo performativnosti je v članku izpeljana preko primerjave s Čistim performansom Jake Laha, ki je nastal v okviru projekta Via Negativa. Poudarek je dualnem načinu gledanja, ki zahteva »hkratno« branje dela in celote, in ki (kljub natančnosti izvedbe) temelji na posebni dinamiki, v katero je implicitno vgrajena (z)možnost improvizacije in nenehno vključevanju gledalca