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


Object Score puppetry takes preparation. The puppeteer needs to prepare his body and mind before he can transpose expression through his puppet, creating a dialogue between himself, the puppet and the audience. The O.S. method demands full control of your body and mind.

Controlling the mindTo bring another entity to life 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 level of consciousness of his body. After this he needs to learn to control his body, exploring its every muscle. To achieve this, we use: the Breathing exercises, Fletcher-Towel Work and Spine articulation.

Controlling the bodyThe second task for the puppeteer is to control his mind. If the puppeteer loses focus (even if it’s only for a split second), the puppet dies and the illusion 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.

After this, the puppeteer learns to transpose expression to his puppet, using key techniques like: breath, fingertip manipulation, countermovement and split focus. Now, start playing!




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