Tot Zaterdag, 23 November 2019
The figures, objects and sets of Damiet van Dalsum are made to represent stories, to arouse illusions and to create an imaginary world in which children, and sometimes adults as well, can lose themselves.
Her figures has besides their remarkable theatrical qualities a visual power of their own.
The first exhibition of Damiet’s figures was in her home town Dordrecht, the Netherlands, fifteen years ago. The director of the Arte House wrote about it: I saw Van Dalsum’s puppets and pieces of scenery. I was immediately taken by them, even though I didn’t know exactly what I was looking at. Even now that I have had them in my hands,
it’s not easy to say what their attraction is. They’re made of almost nothing —pieces of cardboard, wire and feathers, objects you fi nd by chance at hand at home like a bell, a fan or a piece of fruit... And yet these ‘poor’ materials seem to give the impression of fi nely made expensive materials. Together with this illusion of ornamental objects, there is also the association with primitive art, with magical objects that play a role in strange rituals. The unexpected combination of different materials reminds you of surrealist fantasies. You may also want to link this magical and primitive with the mental world of young children, which is a source of inspiration for many artists. The atmosphere of enchantment refers to buried feelings, to a dark world of horror, fear and tension, but the puppets equally have something light-footed about them - they’re peculiar and jolly. This is, I believe, what makes Van Dalsum’s objects so compelling to look at: the absurdity of all these combinations. As far as viewing pleasure, the use of materials and the arousal of feelings are concerned, I see no essential difference from a painting or a piece of sculpture. All the more reason, in that case, to allow them to be seen in an artistic context.
MASTERCLASS AS A LABORATORY
* The starting point of the master class is that the participants create a small performance from a minimal of material. These materials are simple such as paper, newspapers, feather silk fabrics, rods. The fact that the participants must "conquer" the material also creates a relationship between the materials and theater maker / player.
* We also try to figger out what is the different between movement in the air and movement in the water. Can we use the same material?
Investigate which movements are made in air or water. Two or three dimensional. Investigate which opposition you encounter. Other movements and materials at two or three dimensions.
* Work with minimal materials.
- WE also work on the FOCUS. Where is important you as an actoer or the material you move.
that with the figure with which you distinguish yourself in that?
* Each material has its own sound and movement options. The player is the center of attention but must focus on the material. It starts with the breathing of the material. We investigate the interaction between material, movement and sound.
*The possibilities to work from two to three dimensional.
The masterclass is intended for people who are professionally engaged such as actors and actresses, puppeteers, writers and singers.