An Interview with Puppeteer Gisèle Vienne About Rhythmical Distortion, the Uncanny, and Black Metal

“Kindertotenlieder” marks the Artist’s Debut at New York Live Arts this October ’14

Gisele Vienne 3

Image: “Kindertotenlieder” © Antoine Masure et Gisèle Vienne

Sammi Lim for The Dance Enthusiast: In Kindertotenlieder, the performers will share the stage with robots and puppets. Do these figurines fulfill a larger role than serving as mere props?

Gisèle Vienne: Although they are technically props, the audience watches human-shaped objects in a totally different way. Kindertotenlieder brings you from the object to the animated object to the unanimated body to the animated body. All the dolls are human-sized and have the same outfits as the performers, so you see them as one group. It creates a theater that is very much about distorted perception.

The dolls represent characters who could be there but they also represent missing characters — they’re ambivalent. They look very much like 21st Century kids attending a Black Metal concert.

Read the full interview HERE.

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