Shadow
Theatre
Theory and Practice (volume 3)
By
Rainer Reusch
Einhorn-Verlag 2005
Price: 29 EURO
Can be ordered directly from the publisher Einhorn-Verlag,
Germany
email kontakt@einhornverlag.de
or from Ray DaSilva, UK
email dasilva@puppetbooks.co.uk
Reviewed
by Ramon Abad
Have
you ever visited your local library, searching for books about
shadow puppetry and finding none of them published beyond
1975? Most of the lighting techniques and theatre companies
described in these books are as out-of-date as the old-fashioned
book index.
There are many great websites that have history, examples
and instructions on how to do, but for those of us who need
a good, solid book to pick up and put down in the heat of
creating shadow theatre, there has been only one great, consistent
source of inspiration over the recent years.
Since 1989, the International Shadow Theatre Centre (Internationale
Schattentheater Zentrum) based in Schwaebisch Gmuend, Germany
has been the absolute centre for the world’s shadow
theatre artists, puppeteers, designers and directors. Every
three or four years they organise the world’s largest
and most extensive festival of shadow theatre from around
the globe.
Over the years, the Centre has produced a series of books
that not only describes historical or folk traditions, which
is where most literature about shadow theatre begins and ends,
but is entirely unique since it is also passionately dedicated
to modern shadow theatre and puppetry.
The newest and latest edition, entitled Schattentheater/ Shadow
Theater, Band 3: Theory & Practice, written in German
and English by the Centre’s director Rainer Reusch,
is absolutely essential for any artist, director or educator
who is serious in creating and teaching shadow puppetry and
theatre. The book focuses not only on work for children but
also on work for adults, which is an audience many books and
websites often overlook.
The great strength of Band 3 (Volume 3) is its hands-on, practical
advice and detailed plans of making large-scale shadow theatre.
Most books and websites show how to make small tabletop shadow
screens. Rainer Reusch has several great examples of small
screens; a toy theatre composed of a frog’s mouth as
the screen made is my personal favourite!
However, many artists or directors who choose to work in shadows
often want to explore their potential in larger spaces. A
major part of Band 3 has detailed descriptions of how to make
large-scale work with screens or surfaces that can be used
in non-traditional ways and shapes. Despite a rather conventional,
almost story-telling style in describing technical requirements
and steps, this is the best resource for anyone attempting
to create large shadows before trying them out for themselves.
I appreciate how Rainer Reusch pushes shadow theatre beyond
just a small-scale experience by including its wide potential
in architecture, video projection, projected scenery and the
use of the whole human form. Dedicating an entire chapter
to Body Shadow Theatre is bold step!
My absolutely favourite part of the book is the lovingly detailed
table of various light sources. If you’ve even tried
a hand at shadow theatre, you’ll know lighting is the
key. Mr Reusch includes every light possible and gives his
view on the advantages and disadvantages for its uses. After
working with shadows for several years now, I knew exactly
what he is describing – he is absolutely spot on in
his assessments: ‘Torch…Disadvantage: Faint light,
batteries consumed quickly – use rechargeable batteries.’
Nowhere will you find a finer collection of photos of modern
shadow theatre. The first two volumes are packed with many
black & white and colour photos of many theatre companies;
from Italy’s Teatro Gioco Vita and France’s Amoros
et Agustin which show examples of what shadow theatre has
accomplished beyond tradition. There are, regrettably, several
of the same pictures used in Band 3 but what’s really
interesting are several new photos that show full, large-scale
work with children (the photo of the children’s orchestra
in costume in front of a large screen, though it almost looks
like it was shot with a disposable camera, is simply amazing!)
will inspire any teacher to try a hand in creating shadow
theatre with his or her class.
I read the first volume of the Schattentheater series in Larry
Reed’s office in San Francisco sometime in 1996 when
I was a new member of his shadow theatre company ShadowLight
Productions, which has chapters in the first two books. At
that time it was my first exposure to reading and seeing work
from many artists and companies from around the world who
were making contemporary shadow theatre. It was truly inspirational
to see the work of an international network of artists and
puppeteers active in shadow theatre.
When I met Fabrizio Montecchi, director of Teatro Gioco Vita
in the company’s atelier in 2004, I was able to relate
with him from the work of theirs that I had seen in the second
volume. Having been a fan of these books over the years, I
can now, on the publication of Band 3, highly recommend them
to anyone who is new to the artistry of shadows and is willing
to explore… and even the seasoned shadow puppeteer who
thinks they’ve seen everything!
Rainer Reusch is director of the
International Shadow Theatre Centre, Germany.
All photos by Rainer Reusch
isz@schattentheater.de
www.schattentheater.de
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