Tags: puppets

Kamp

Mixes theater, music, video, sculpture and puppetry to recreate the daily routine of mass murder at Auschwitz.

Mr. M

The production emphasizes object theater over puppetry. Mr. M’s furniture moves around him, the room morphs into a concentration camp in his dreams, and reality turns inside out as he visits his friends in “reality,” and they visit him in his “imagination.” There is one directly manipulated puppet, Mr. M’s shadow or alter ego.

The Puppetmaster of Lodz [Le Marionnettiste de Lodz]

Samuel Finkelbaum, is a puppeteer who escaped from Birkenau near the end of World War II. Now, five years after liberation, he remains in hiding with his puppets, who speak for him about his Holocaust experiences and are his only real companions in his Berlin apartment. He refuses to believe his landlady when she tells him the war is over. Part of the reason for Finkelbaum’s hiding is that he continues to be in love with his wife who perished during the Holocaust and he refuses to accept her death.

The Tattooed Man Tells All

A one-man show that takes place in a studio apartment in a public housing project in Vienna, circa 1975. At one point the old man pulls his old zebra-striped camp uniform out of the closet and insists that the interviewer try it on for size. The uniform becomes a life-sized marionette. Man and marionette change places, the marionette becomes the protagonist’s former self and the protagonist himself takes on the role of the tormentor.

Uncle Arthur [הדוד ארתור]

A playwright, who cannot get his play about the Holocaust produced, stages it himself in front of four puppets. One of the puppets represents his Uncle Arthur, who has a negative perception of Holocaust Jews because he perceives them as passive victims.