Tutor
Hanny Wijaya
Hanny Wijaya is an Associate Professor and the Head of Internationalization and Partnership at the School of Design, BINUS University, Indonesia. She is currently based in Vienna to focus on her research at Kunstuniversität Linz, Austria
Co-tutor:
Amalia Barboza (Kunstuniversität Linz, Austria)
Ákos Hutter (University of Pécs, Hungary)
Language: English
Instructing Institutions and Websites
BINUS University
Kunstuniversität Linz
University of Pécs
Keywords
Austrian puppetry, manifestation, happiness, culture, graceful
Professional direction
Cultural Studies
Topic Description
In many parts of Europe, puppetry was well established by the thirteenth century and free exchange between the countries there has produced similar trends and styles in puppetry.
Puppetry is a form of theatre or performance that involves the manipulation of puppets, that are animated or manipulated by a human called puppeteers. Austria contributed to the most important development of rod puppetry in Europe since Richard Teschner initiated to development of his rod puppet inspired by Indonesian Wayang Golek. He lived in Vienna from 1909 onwards and became a member of the Wiener Werkstätte (Vienna’s Workshops: a production community of visual artists in Vienna, bringing together architects, artists, and designers). Teschner created several delicate rod puppets, 30 to 40 centimetres high. Inspired by the Indonesian rod puppets, he modified and manipulated his new creation by adding internal strings in some parts, including joints and limbs, in order to manipulate the puppets easily. These puppets were beautifully decorated and dressed in sarongs made of materials of the Wiener Werkstätte and inspired by Viennese Art Nouveau. Teschner’s creation is a clear example that the mixture of forms and techniques from both puppets can exhibit a new hybrid in design contexts that manifest the cultural and aesthetic perspectives of both Austria and Indonesia.
The new hybrid creation is consistent with the current lifestyle in the world that constantly changes every day. Inspired by Teschner’s manipulation and modification process, this project aims to explore the possibility of new thinking, forms, and techniques of design. Art and design are the universal languages that can deliver the manifestation of culture. Richard Teschner was not only showing us his aesthetic aspects, but also his understanding of the importance of collaborative work and how interdisciplinary could bring greater outcomes, like the main concept of Wiener Werkstätte. That is why this project aims to encourage participants to work collaboratively with various disciplines and cultural backgrounds.
Students will explore and discover their interpretation of puppetry from various aspects, such as visual, narrative, history, philosophy, etc. They also can explore from their disciplinary perspective, like the aesthetic view of the puppets (costumes, fashion, and materials) or from the spatial design perspective of the theatre stages. Students can also think about the music or sound, play and movement, and many other aspects. This project will encourage them to play with their senses to their full potential. While working together in their group, students will be able to manifest their collective thoughts in the contemporary context and apply it to their final artwork. The outcomes will be diverse, which represents the re-discovery and new manifestation of the participants.
Output results
Various artworks based on concept and interpretation: prototype either 2D or 3D objects, art and design ideas (presentation, poster, infographic), other forms (games, animation, exhibition, public space, etc)
Schedule
14 Sept, Meeting: Kickoff & Task Brief, 14:00-15:30 (1 hour)
19 Sept, Meeting: Tutorial, 14:00-15:30 (1 hour)
20 Sept, Meeting: Tutorial, 14:00-15:30 (1 hour)
22 Sept, Meeting: Tutorial, 14:00-15:30 (1 hour)
23 Sept, Interim Review, TBA
24 Sept, Meeting: Feedback and Review, 14:00-15:30 (1 hour)
27 Sept, Meeting: Continuing Discussion, 14:00-15:30 (1 hour)
30 Sept, Meeting: Final Review, 14:00-15:30 (1 hour)
02 Oct, Final Presentation, TBA
References
https://www.britannica.com/biography/Richard-Teschner
https://wepa.unima.org/en/richard-teschner/
https://www.theatermuseum.at/en/in-front-of-the-curtain/exhibitions/richard-teschners-magic-mirror/
https://www.youtube.com/watch?v=C_OFmc5A8p8
Registration link
指导老师
汉尼·维贾亚
汉尼·维贾亚是印度尼西亚BINUS大学设计学院的副教授，也是国际化和伙伴关系的负责人。目前常驻维也纳，在奥地利林茨艺术大学专注于自己的研究
协同老师
阿玛利亚 巴尔博萨 （奥地利林茨艺术大学）
阿科斯 胡特（匈牙利佩奇大学）
授课语言：英文
指导院校与网站
印尼建国大学
奥地利林茨艺术大学
匈牙利佩奇大学
关键词
奥地利木偶戏，表现形式，幸福，文化，优雅的
专业方向
文化研究
工作坊课题说明
在欧洲的许多地方，木偶戏在十三世纪早已创立，各国之间的自由交流也使木偶剧产生了类似的趋势和风格。
木偶戏是一种戏剧或表演的形式，它涉及木偶的操纵。木偶由木偶演员制作或操控。自理查德·泰什纳（Richard Teschner）在印度尼西亚瓦扬·戈莱克（Wayang Golek）的启发下开始发展他的木偶以来，奥地利为欧洲木偶戏的重大发展做出了贡献。他从1909年起居住在维也纳，并成为维纳·沃克斯特（Wiener Werkstätte）的成员（维也纳工作室：维也纳视觉艺术家的制作团体，汇集了建筑师、艺术家和设计师）。Teschner制作了几个精致的木偶，高30到40厘米。受印度尼西亚木偶的启发，他修改并完成了他的新作品，在某些部分添加了内部的细绳，包括关节和四肢，以便轻松地操纵木偶。这些装饰精美的木偶，穿着由维纳·沃克斯特（Wiener Werkstätte）材料制成的莎笼，创造灵感来自维也纳新艺术运动。Teschner的创作是一个明显的例子，两个木偶的形式和技术可以在设计环境中形成全新的混合，这体现了奥地利和印度尼西亚两国的文化和美学观点。
这种新的混合创造与当今世界每天不断变化的生活方式是一致的。这个项目的灵感来自特斯克纳的创作和修改过程，旨在探索新的思维，形式和设计技术的可能性。艺术和设计是能够传递文化表现形式的通用语言。理查德·泰什纳（Richard Teschner）不仅向我们展示了他的美学观点，还展示了他对协作工作的重要性以及跨学科如何带来更大成果的理解，比如维纳·沃克斯特（Wiener Werkstätte）的主要概念。这就是本项目旨在鼓励参与者与各种学科和文化背景协作的原因。
学生们将从视觉、叙事、历史、哲学等多个方面探索并发现他们对木偶戏的理解。他们还可以从学科角度探索，如木偶的美学观点（服装、时尚和材料），或者从剧场舞台的空间设计角度来探讨。学生还可以思考音乐或音响、演奏和运动等许多方面。本项目希望鼓励他们充分发挥自己的感官潜能。在小组合作的同时，学生们将能够在当代背景下展示他们的集体思想，并将其应用到最终作品中。最终成果将是多样的，这代表着参与者的再发现和创新表现。
产出结果
基于概念和说明的各种艺术作品：二维或三维物体的原型，艺术和设计理念（展示、海报、信息图表），其他形式（游戏、动画、展览、公共空间等）
参考案例
https://www.britannica.com/biography/Richard-Teschner
https://wepa.unima.org/en/richard-teschner/
https://www.theatermuseum.at/en/in-front-of-the-curtain/exhibitions/richard-teschners-magic-mirror/
https://www.youtube.com/watch?v=C_OFmc5A8p8
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