On Paper Lanterns & Elephants

Today has been busily filled with cutting and heating to form thermoplastic over the clay sculptures of the four lion's heads which are all coming along well. The 'rhenoflex' material is proving to be extremely versatile, strong and lightweight and is something I will definitely want to work with in future projects; see Nala, Mufasa and Simba below with Scar in the background;

But this evening I've been looking into some inspiration for the looming eleven-person elephant shell we are creating.
A little lost, my first port of call was willow sculptures. They are beautiful but are very built up to create the illusion of weight - we need the elephant costume to achieve this also but in a way that allows the actors to see out, whilst also being low on budget and with a fast turnaround time. The naturalistic forms that the willow creates smooth curves and tight angles that organic creatures have.

 Sarah Gallagher-Hayes' Willow Lion

Steve Manning's Willow Elephants

We will be using willow as the frame as we have with the giant Mufasa head and also the smaller, lightweight and dainty bird kites that will soar over the audience. In a similar form of lightweight structure, traditional Chinese lanterns and from this, lantern celebration sculptures. They come in fantastic, artistic forms and are the sort of thing I'm hoping the team can emulate with the willow sticks and sheer jute and muslin fabrics.

Traditional Chinese Lanterns

Dog Lantern from the 'Illumifest of Light'

'Burning the Clocks' Festival

Russell Kirk's Lantern Parade Creations

As the jute is so loose-weave it will allow the young actors to see through it with ease, so they can perform their routines without any collisions. I feel it is most important for the life-size puppet to create the illusion of form and having ease of movement. To aid this I have begun creating the body panels as two separate hand-held pieces, so the performers can allow the puppet to 'breathe' - a movement fundamental to Handspring Puppet Company, and particularly notable in their production of 'War Horse'. To be believable, the alive animal's vital signs must be met; in the haste of puppetry this mostly translates into a believable design, and movement that mimics the characteristics of the creature.