אמנית בובות מזה 20 שנה. פרפורמרית, בונה בובות ומעצבת לתיאטרון, טלוויזיה וקולנוע. בוגרת אוניברסיטת קונטיקט בתוכנית the UCONN Puppetry Arts Program ו- O’Neill Puppetry Conference . עבדה עם קבוצות בארה"ב וברחבי העולם: בזיל טוויסט, ניקלודיון, משפחת אדמס בברודווי, נטפליקס, ביביסי, דיסני ועוד …
מה הסיפור שלי
1. Why I'm a puppeteer? For me puppetry is my art, my craft and my livelihood. There is a certain magic in puppetry that isn’t present in traditional theater. Puppeteers can perform any role and are not restricted by gender, age, or species. Puppets are able to transform literally and metaphorically. A simple piece of fabric can be a king, the wind, or a bird all in the same piece of theater.
2. How I came to this occupation I began my puppetry journey when I auditioned for the Puppetry Arts Program at The University of Connecticut. I was selected to be a student there. I was very fortunate that I was able to start working in the puppetry field professionally when I was still in University. I was hired to work on several television and theatrical productions during school breaks.
3. What is so appealing about it? Puppetry is a universal language of its own. An audience can be transported by the movements of puppetry, regardless of which language is the audience’s native language. I have seen non verbal puppet shows performed all over the world from the US to Madagascar and observed how it connects with audiences and moves them emotionally with the stories they tell.
4. Where did you study? I have a BFA in Puppetry Arts from the University of Connecticut Puppetry Arts Program in Storrs, CT U.S.A. I also had many years of professional development at the Eugene O’Neill Theater Center’s National Puppetry Conference in Waterford, CT, U.S.A. I studied classical hand puppetry and movement privately with Nikki Tilroe. I learn more from each job I do, be it performing and wrangling on various television and film sets,touring internationally and throughout the US or when I am working in professional puppetry studios in the US and in Israel. I also learn from each of my students. Everyone has a unique approach to puppetry, and I love supporting my students along their journeys.
5. The Advantage and disadvantage of the profession? The advantages of puppetry are that it is such a unique art form it allows expression in as many ways as there are styles of puppetry. Shadow puppetry, classical hand puppetry, rod puppetry, direct manipulation, marionettes, object theater: each style has it’s own unique style of storytelling. The disadvantage of the puppetry profession is consistency. To survive as a puppeteer you must be able to be flexible and hustle all the time. When there is not much work available and times are lean, you must find ways to keep going. Because this is not an easy profession I’ve adapted, I started out as a performer. Over time I became a builder, a costumer, a theater technician, a stage manager, I would learn the skills needed for whatever project would hire me.
6. How people relate to the profession of puppetry Most people love puppets. They bring out a child-like wonder in audiences of all ages. Puppets allow adults to let go and remember what it is to play. I have worked with students in many countries, the best part of the classes are when each student finally gives themselves the permission to play and bring a puppet to life.
7. Has anyone particularly influenced you in your professional way? Nikki Tiloe influenced me the most. She was an incredible performer and an incredibly patient and giving teacher. I have also been influenced by my long time collaborations with Sarah Frechette and James Godwin. I also learn from each of my students.