Puppeteers heavily depend on precise manipulation of objects, engaging their upper limbs extensively, with the torso and legs providing support. This intensive use of the upper body, particularly the shoulder girdle and neck, can result in tissue erosion and structural distortions over the long term. Anatomically, these areas are not inherently built to sustain such prolonged and focused efforts.

Furthermore, puppeteers confront many challenges, including navigating beneath the stage while manipulating puppets with outstretched arms, enduring prolonged periods of standing or crouching and contending with restricted visibility, among other difficulties. Furthermore, the fact that their body is usually hidden imposes limitations on their spatial mobility, constraining their range of movement.

During the learning process of adopting new habits, a transitional period involves a temporary decrease in performance. Consequently, working with puppeteers can be challenging, as they often gravitate towards familiar patterns, especially during stressful rehearsals and performances.

I had the honor of collaborating with puppeteers from the staff of MIC, a renowned TV3 puppet show in Catalunya. This experience unfolded as a journey into the art of puppetry, delving into exploring their physicality, sensations, challenges, and insights. Simultaneously, it introduced a learning process that broadened their perspectives, opening their minds to new movement possibilities in both body and space, alleviating their strain and pain, and significantly improving their performance.

Curious? Contact me!