With Strings And Without Lights
Besides revisiting Nicolas Géal I also had made a friend in Dimitri Jageneau along with his mother Biserka at Théâtre Royal du Peruchet and so I decided to take a bus out to see them as they performed a play based on Rudyard Kipling’s The Elephant’s Child from The Jungle Book.
So I say I decided to take a bus. But finding out how to get there was really a work of serious deduction. Brussels’ bus and tram lines have baffled me before and in both of my trips out to Peruchet this time I was completely stymied. I wasn’t taking the method I had last year, because I couldn’t find a record of how I did it looking over my online records. The problem the first day was that the train for the second part of the trip was not due for 45 minutes after I arrived. And that spoiled my attempt to get there early. It also occurred to me that I might need another ticket for the train, that the one ticket for all might not include the train lines. (This is the problem with Google directions.) Fortunately no one asked nor were they likely to. So having figured out a way to make things work the first day you’d think I’d breeze through it again. Except for one big problem. It was November 1st, All Saints Day, or All Hallows, a date that means very little in America, (but the night before it does!) but in de-Christianized Europe it still survives as a major break on the calendar, much like Ascension Day. And I have been caught by this one before. And so the bus and train schedules were radically different from the day before. Eventually, with a great deal of exasperation, I managed to arrive in good enough time on both days, having allowed myself the grace to leave earlier than I needed for just this reason. Planned disarray?
Dimitri Jageneau feels like an old friend already. He has helped me with my crowdfunding and has taken me out in Brussels in early 2016 to a pub with puppets hanging from wall to wall. I enjoyed the time I spent here last year. So when we met it seems that we simply resumed our discussions about puppetry, in which I am very much the student still. He explained that theatre Peruchet is one of the few children’s puppet theatres still featuring marionettes, as opposed to glove/hand puppets. And they occupy a unique situation within the puppetry world, one he is keen to keep. But the problem is one of getting the help. His mother Biserka is his number one puppeteer, and she is getting older. Yet given the income of the theatre it is hard to train another puppeteer to take over the slot. He had a few younger people helping him, including Fernando and Velina. But neither were really puppeteers in waiting and they worked the door. Yet I did have good discussions with them.
I had a fascinating experience at one point I decided to take a few photos of their fantastic puppet museum again. This time I decided to leave the lights off and capture the puppets in the shadows. And this changed everything. I wished I could do that in every warehouse or museum featuring puppets. Dimitri kept coming in and asking if I needed light. But I didn’t. The way the darkness enveloped the puppets gave them even more of a sense of life than normal, which in turn gives me more ideas for possible ways of presenting puppets.
Eventually it was time for the show. Biserka came out to greet the children and to introduce the show which was going to explain once and for all how the elephant got his trunk. The marionettes were all flat made out of board, except for the elephant who seemed like a plush toy fallen on hard times. The story takes place on the “great grey-green, greasy Limpopo River.” And all manner of animals come round to discuss the insatiable curiosity of the manic little elephant. Finally shortly before the intermission the elephant child is caught in a struggle between the crocodile and the python when the curtain comes down. I’ve noticed in Belgium it is standard to have an intermission for selling refreshments and showing of a museum in even a short puppet show. Following the break Biserka rings the bell and then has a bit of a raffle and finally introduces part two for les enfants. And naturally, voila the elephant’s nose is now the long lovable hose we now know. Yet the young elephant doesn’t believe it looks oaky. The Peruchet puppet shows are certainly there to teach the children little lessons. And the Belgian children certainly like it. These shows have some give and take with the children, including singing songs mid-performance, but the Belgian style does not push the kids over the edge as the Parisian Guignol shows do. Though there is plenty of physical action.
When the children left the second show I showed Dimitri, Biserka and the others a sample of my trailer for Gravity From Above. They laughed when they saw themselves and were glad that it looked like I would be getting financial assistance from the International Institute of Puppetry in Charleville-Mézières. A visit to Peruchet in Belgium is to visit friends in puppetry. When in Belgium go find them and enjoy the show for yourself.
PS. Now we’ve had a crashed hard drive! Without going into all of the pecuniary details let’s just say that my final week back in Alaska was filled with many unforeseen costs and though I had excellent news about helping my film financing from the International Institute of Puppetry (read the last post) none of that funding will affect me at all for at least a year. So if you are wondering if I need anything or if you can help out? The answer is yes. You can put some coins in my PayPal account. And I can assure you anything would be practical and useful. Thanks Byrne