Object Score

My technique, which I’ve called the ‘Object Score’, consists of using the body as a landscape for the puppet and vice versa, in order to explore the space and create choreographic motifs. It is in fact a very specific form of choreography for two bodies functioning under the same mind. Where a dancer seeks to be seen on stage and to express himself through body language, a puppeteer generally tries not to be seen, giving space to his puppet. In the Object Score technique we do both and we switch from one perspective to the other.

– Duda Paiva

Main features of the technique

Controlling the body and mind brings you to the third step in the process of Object Score Puppetry; the technique connecting these two main features, the ability to transpose expression to the puppet. You need to learn how to switch between using your own body for artistic expression and the body of the puppet. Now you can start playing!

Controlling the mindIn order to be able to bring another entity to live and making it to appear living independently from you, you first need to explore and control your own bodily properties. Therefore, the first task of the O.S. Puppeteer is to train a high consciousness of his body. After this he/she needs to learn to control the body, exploring its every muscle. To achieve this, we use the Fletcher-Pilates technique. After this, the puppeteer learns to transpose expression to his puppet, using key techniques like counter pose and split focus.
Controlling the bodyThe second task for the puppeteer is to control his mind. If the puppeteer looses focus (even if it’s only for a split second), the puppet dies and the magic is lost. For the puppet to become alive, the audience needs to believe that the puppet is thinking, that it has a will of its own. Movement should appear to be coming of the puppet itself, as if it’s the puppets’ decision to move. To achieve this, we use focus and breathing techniques.


Split focus
Counter point