[ Papermoon Puppet Theatre ]
Bantul, Yogyakarta, Indonesia 印尼日惹
- 團隊介紹 Introduction
Papermoon Puppet Theatre was founded in 2006 as a brainchild of Maria Tri Sulistyani, an illustrator, writer and theatre performer, and Iwan Effendi, a visual artist. They have been experimenting and exploring the possibilities of puppetry since then. The company is based in Yogyakarta, Indonesia, a country with world-renowned puppetry traditions. The young and professional artists of Papermoon are dedicated to continuing this tradition with their multimedia productions, and creating works that imaginatively explore individual identity and society.
In addition to performances, Papermoon also presents their artworks through visual art installations, and shares their knowledge by holding workshops, puppet labs. They have been hosting the international biennale puppet festival, Pesta Boneka, since 2008. Today,
紙月亮偶劇團成立於 2006 年，由插畫家、作家及劇場表演者 Maria Tri Sulistyani 與視覺藝術家 Iwan Effendi 共同創辦。創立至今，兩人持續實驗、探索偶戲可能性。劇團位於以擁有豐富偶戲傳統而著名的國家印尼，而紙月亮年輕、專業的藝術家們以多媒材形式延伸了印尼的偶戲傳統，其作品以想像力持續探索個人與社會。
除了演出外，紙月亮偶劇團也以視覺裝置方式展出，經常舉辦課程、實驗工作坊。以及發起兩年一度的偶戲藝術節《娃娃派對》（Pesta Boneka）。
- 偶戲創作及願景 Mission and Vision
Papermoon Puppet Theatre sheds light on people’s stories. Their creative themes may include social, political and environmental issues. All of which are approached from an individual’s perspective. For them, personal is political. Papermoon's creative process sometimes starts with materials, techniques or space, but mostly they begin with a person’s story.
The puppets used by Papermoon Puppet Theatre are all designed and crafted by themselves. The styles include the transformation of Japanese Kuruma Ningyo and bunraku puppets, as well as table-top puppets and shadow puppets.
They believe that the unique feature of a puppet lies in its unpretentiousness. It always presents the most intrinsic self to the audience. As for the artists, puppets are the bridges of communication.
Papermoon considers the most important training for puppeteers are imagination, materials and their messages, and stories. They improve their puppetry skills through constant experimentations which are brought by new productions. Through the experiments, Papermoon has developed unique aesthetics.
Papermoon Puppet Theatre 關注人的故事，題材包括社會、政治、環境議題，皆從個人的觀點切入並詮釋。對他們而言，個人即政治。 Papermoon 的創作可能從材質、技術，或場地開始，但大部分的時候是從人的故事出發。
Papermoon 的戲偶皆由自己設計和製作，類型包含車人形、文樂的改造，以及執頭偶和影戲。
劇團認為偶的獨特之處在於偶從來不會假裝，它總是讓觀眾接收到最原本的它，而對藝術家而言，偶是與人溝通的橋樑。
Papermoon 認為對操偶師來說最重要的訓練包含想像力、材質與它的訊息、故事等三大項目。他們透過實驗提升自身的偶戲技術，並認為新的製作總是帶來新的挑戰和實驗方向，藉此，Papermoon Puppet Theatre 發展出一種獨特的美學風格。
- 演出規模 Performance Scale
Papermoon Puppet Theatre usually presents two new productions each year with some additional commissioned performances. Most of their performances are produced and presented outside Indonesia.
The performances mostly take place at indoor spaces, including theatre studios and auditoriums, museums, art galleries, and more.
Papermoon Puppet Theatre 一年通常會呈現兩個新的製作，以及一些委託創作。大部分的演出於印尼以的地區製作與呈現。
演出空間大多為室內，包含劇場空間、博物館和藝廊等
- 國際交流 International Exchange
Most of Papermoon Puppet Theatre’s performances are produced and staged in foreign countries, including the United States, Netherlands, the United Kingdoms, Germany, Italy, Australia, Japan, Korea, Pakistan, China, Taiwan, Myanmar, Thailand, the Philippines and more. They have performed in the art festivals, museums, art galleries in these countries.
Papermoon has been holding the biennial international puppet festival, Pesta Boneka, since 2008, in which they invite puppet artists from different countries to perform and exchange ideas.
Papermoon Puppet Theatre 的演出大部分位於海外，包括美國、荷蘭、英國、德國、義大利、澳洲、日本、南韓、巴基斯坦、中國、台灣、緬甸、泰國、菲律賓等地。他們曾在各個國家、城市的藝術節、博物館、劇場空間演出。
Papermoon Puppet Theatre 自 2008 年起舉辦 Pesta Boneka 國際雙年偶戲節，廣邀世界各國的偶戲藝術家演出、交流。
Photo Credit: Pqpermoon Puppet Theatre