In Puppets, Rosolen takes us to the periphery of choreography in order to reinterpret a key image of dance. In many epochs and cultures, e.g. in romantic ballet and in classical Javanese dance, the puppet’s movements have been seen as a kind of ideal dance.
Now, Rosolen puts an astonishing twist on this relationship between puppets and dancers, Instead of focusing on the movements of the puppets, she concentrates on those of the puppeteers. What kinds of dances usually escape our attention? What kinds of choreographic patterns emerge from the join handling of a puppet? By exploring an art form foreign to dance – i.e. puppet theater – Rosolen develops a new perspective on dance and the perception thereof.
