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String Puppetry International Albrecht Roser


International Institute for String Puppetry -
Construction and Performance - Albrecht Roser






September–Academy 2010


The Marionette: Artless and artful


Basic course

Form, Performance, Technique

Particularly suitable for craft instruction in schools


Two weekends, Fryday, Saturday, Sunday

September 24, 25, 26

October 1, 2, 3


10 - 12 a.m. Marionette Performance: Ingrid Höfer, Therese Böhm

1.30 – 3.00 p.m. Practical Tips in Production Technique: Gerhard Bartling

3.00 – 7.00 p.m Sculpture of puppet heads: Michael Mordo


Fee: 400 €, inclusive material.


This is an intensive seminar course: Introduction to acting in the morning; then control, manipulation practica and costumes can be worked on, Sculpüture of puppet heads

in the afternoon.


The dramatic expressive transformation of the marionette or mask will be studied before the mirror, and reinforced through gesture. The particular allurement and grace of a marionette depends not merely on the performance: aside from a perfected functionality, the figure must also have theatricality.


The main theme of this course is the construction of stage-effective heads and hands for a Head-Shoulder marionette or a Rod-Puppet. Heads will be shaped and hardened from rigid-foam; hands will be constructed from wood or cane. Further, instruction will be given on construction and technique of the marionette as well as the basic fundamentals of its movement. To illustrate this we have a number of excellent marionettes which can be studied.















Michael Mordo: Sculptor, painter with numerous exhibits; jazz-musician; marionette constructor; Lecturer in the Puppet Arts Department, State University of Music and the Performing Arts in Stuttgart. For the past sixteen years, he has been documenting all of Albrecht Roser's marionette construction methods and inventions.


Ingrid Höfer: has held workshops at numerous festivals; at O'Neill Center for Puppet Arts, University of Connecticut; at PUK Puppet Theatre, Tokio; at International Summer Academies and Master Classes of Prof. Albrecht Roser in Germany, USA and Croatia; main emphasis on marionette/mask design, coloring and performance; Roser's Paper-Sculpture Method; Scarf, and Head-Shoulder Marionettes; has directed numerous primary-school theatre projects using marionettes and masks.


Gerhard Bartling: studied art at the Merz Academy, Stuttgart, diploma as graphic designer; 1977 independent commercial and exhibition designer; six years member of the theatre group "Die Kulissenschieber" and since 2003 co-operation with Studio Roser on exhibitions, including "Workshop-Phantasy -- Stage Magic" celebrating  Prof. Albrecht Roser's 55 years as puppeteer, in the Puppet-Theatre Museum, Bad Kreuznach.


Alice Therese Böhm: born in Stuttgart; began in 1994, as a teenager, to design and perform with her first marionettes; attended  numerous workshops, including those of Prof. Albrecht Roser. After completing her school education, she apprenticed as a technician for plastic and rubber, learning to work with many different materials and construction techniques. She studied Puppetry at the Ernst Busch School of Dramatic Arts, Berlin and at the State University of Music and the Performing Arts, Stuttgart. Alice Therese Böhm has performed and directed numerous productions with her ensemble FAB-Theater. She has held marionette workshops worldwide and is Lecturer at the University in Stuttgart. For more about Alice Therese Böhm and her theatre, go to: www.fabtheater.de



All courses will be held at Studio Roser in Remshalden.



Application & Information: Studio Roser

Participation is limited, so please apply early.

Subject to alterations.


The Site:

The Academies and Seminars will take place in Roser's Puppet Studio outside Stuttgart. Participants will enjoy the remodeled working area with individual work benches and the intimate training area at the atelier in the countryside, with the panorama of the Swabian Alb mountains - an ideal place for concentrated work, for an exchange of ideas as well as a place to enjoy the quiet atmosphere.

Accommodation can be provided in the apartment built adjoining the studio –
for those who like to work day and night.

Information is subject to change.


Information and Organization:

Studio Roser
Ingrid Höfer
Rechbergweg 14
73630 Remshalden-Buoch


Ingrid Höfer: Tel: +49-7151/6046072 & +49-0170/6311333

E-mail: Albrecht-Roser@t-online.de



Comments of participants of the Master Class 2004

“The most amazing, and surprising moment, came when I was able to play a puppet i.e. perform as a second performer, not manipulating but working with the puppet as an equal. When Albrecht talked about how he worked, I could understand the concept. But as someone who approaches things technically, I found it difficult to do. Truthfully I did not think that I would be able to do it myself in such short a time as five weeks. But then came the late night when I was working with a large scarf marionette. And I found myself in that wonderful place of just moving with the puppet and having no plan of what to do, but just observing the puppet and being amazed at what it was doing. And even better - the next time I tried to do it I succeeded again!! I had hoped to grow as a performer and increase my skills while here at the workshop. But I did not think I would go as far as I feel I have.” (Robin Walsh)

“There is a very rare moment in one's life when an important step occurs.It is my great pleasure to have realized such an “Aha” moment during my stay. It was not all at once, but over a few days in practicing or “exercising” the puppet I have made, “Tvrtko”. And in this joy I discovered a relationship with the puppet, and began to understand what it is to listen to him, and let his character unfold. The number of wonderful things which I experienced here are too many to write of. I have already gained a wealth of knowledge and feeling from my experience here, but I feel it is just the beginning”. (Matthew Brooks)

“For the first time I realize how within simple shapes emotions can be captured – and seen through movement and lighting. I can look back on all my puppets and see fully where they lack. I have every desire to implement this new understanding in all my new puppets, in my teachings of sculpture and in the way I view art as a whole. I have learned its great that my art comes from an emotional perspective – and the trancelike gift – and it is the one place that is all me. I have learned to endure my creative emotions, and will from now on push my work along the edge, keeping an open mind to all possibilities. This life is incredible!” (Sarah Frechette)


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