Encounters with Non/Living Beings: Puppet Artist Brad Brackenridge in <i>Process and Performance</i>

This article explores the work of puppet artist Brad Brackenridge, particularly as expressed through his show VERTEP and a 2023 exhibition at artist-run gallery Artspace, Brad Brackenridge: Performance/Process, an offshoot of Brad’s work as the gallery’s artist-in-residence in 2021. Using an analysis of a personal experience of viewing Brackenridge’s solo puppet performance VERTEP, recollections of other performances, and an investigation of the lived-experience context for Brackenridge’s creative process, it will suggest that puppetry can function as a form of radical empathy, bearing witness to and calling into question the complexities of the relationships between performer and performance objects, and performer and audience.

Authors

Publication Details

Journal
Canadian Theatre Review
Published
2024-10-01
DOI
https://doi.org/10.3138/ctr.198.021
Primary Topic
Theatre and Performance Studies
Type
article
Field-Weighted Citation Impact
0.00
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article

Encounters with Non/Living Beings: Puppet Artist Brad Brackenridge in Process and Performance

Kate Story
Canadian Theatre Review
Theatre and Performance Studies
article

Encounters with Non/Living Beings: Puppet Artist Brad Brackenridge in Process and Performance

Kate Story
article en

Abstract

This article explores the work of puppet artist Brad Brackenridge, particularly as expressed through his show VERTEP and a 2023 exhibition at artist-run gallery Artspace, Brad Brackenridge: Performance/Process, an offshoot of Brad’s work as the gallery’s artist-in-residence in 2021. Using an analysis of a personal experience of viewing Brackenridge’s solo puppet performance VERTEP, recollections of other performances, and an investigation of the lived-experience context for Brackenridge’s creative process, it will suggest that puppetry can function as a form of radical empathy, bearing witness to and calling into question the complexities of the relationships between performer and performance objects, and performer and audience.

Canadian Theatre ReviewVol. 198
Openalex Percentile: Top 69%
Theatre and Performance Studies
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