International vocational training. Maquette(s) in motion

24. Juni 2024

As part of Temps d'M in Charleville-Mézières (France), Artist puppeteer Philippe Rodriguez-Jorda directs a course on the model as a basis for stage writing and dramaturgical thinking of a puppet show project, at ESNAM, from 16 to 20 September 2024.

or the contribution of scale models to the creative process
From Monday 16 au Friday 20 September 2024
At École Nationale Supérieure des Arts de la Marionnette (ESNAM)
as part of Temps d'M, Charleville-Mézières (France)
Philippe Rodriguez Jorda is a puppeteer who trained at the Ecole Nationale Supérieure des Arts de la Marionnette (ESNAM) in Charleville-Mézières (1st class 1987-1990). As a puppeteer, artistic collaborator and assistant director, he has taken part in numerous productions and tours in France and around the world.
In recent years, he has maintained an ongoing artistic relationship with Bérangère Vantusso, Basil Twist, Audrey Bonnefroy, Anna Ivanova, Claire Heggen, Johanny Bert, Emilie Flacher.

Training of 5 days: 35 heures 

Number of participants: 7 à 10 trainees

Target audience: Performing arts professionals with a puppet show project in its early stages, at the idea stage.

Prerequisites: Professionals in the performing arts who have already performed on stage. Minimum language level B2 in French and English languages.

Training languages: French and English

Cost of the training: 500€ (individual funding) 900€ (AFDAS or other funding)

Deadline for applications: 14 July 2024


Course objectives 

Main objective 

To support trainees in their artistic thinking and their respective skills through daily puppet practice (in the mornings), and the development of models as a basis for stage writing and dramaturgical thinking (in the afternoons).

Specific objectives 
- To discover and appropriate several elements of "mise en corps"; 
- Assess why and how these elements of "mise en corps" are beneficial to the realisation of the ongoing project; 
- Perceive and analyse what the constraints specific to different puppet techniques impose or contribute to personal expressive tendencies; 
- Gradually explore the spatial differences induced by the puppetry techniques approached during the training; 
- Analyse weaknesses (dramaturgical contradictions, scenographic impossibilities, too many performers required, etc.) instead of judging them; 
- Learn to understand the external questions raised about a work and to take them on board in order to deepen the reflection.