![]() ![]() Vivian Nutt builds dioramas of unsolved murders, only for it to be revealed that she is in fact, a serial killer. How is our perception of gender colored through the lens of aggression? Can injecting the idealized settings of dollhouses with the macabre, expose the fraud of domestic tranquility? Are Vivian’s attempts to construct a world that fits her model of justice by eliminating problematic people out-of-scale with their transgressions? These are a few of the questions I am taking a stab at as I invite the viewer to reconsider female serial killers, the historically feminine craft of miniatures, and murder as entertainment. Model Killer: Giant Crimes & Tiny Cover-Ups is a morbid comedy centered on a disgruntled dollhouse maker turned investigator. Model Killer: Tiny Crimes and Tiny Coverups Funding for this residency was made possible through the Walt Disney Company, the Eugene O’Neill Theater Center, and individual contributions through Fractured Atlas. While at the conference, I also worked with Lisa Lichenfels on soft sculpture techniques. The residency culminated in performances of the first scene, Model Victims. During this residency, I worked closely with Sharon Challenger in the Jim and Jane Henson Rehearsal Hall. Model Killer, 2017, Photo: Richard Termineįor the 2017 Conference, I was an artist-in-residence with Model Killer: Giant Crimes and Tiny-Cover-Ups. Heather Henson, Tim Lagasse, Paul McGinnis, Patrick Holmes, Emily Perl Kingsley, Ryan Dillon, Eric Engelhardt, Ronald Binion, Alice Dinnean, Amanda Maddock, Terry Lee and Mark Gale have all been involved with the Eugene O'Neill National Puppetry Conference.I have been part of the National Puppetry Conference at Eugene O’Neill Theater Center in Waterford, Connecticut since 2005 – most recently in 2017 as an artist-in-residence. The conference encourages puppet artists to create through the visual and kinetic form of the puppet, to push beyond personal boundaries, and develop new works. The play was also performed in 2006 at a tribute benefit for Nikki Tilroe. Pigeon-Holed, a one act play by Annie Evans, originated at the O'Neill Puppetry Conference, and featured Muppet performers Leslie Carrara, Pam Arciero, Heather Asch and Marty Robinson. The Kevin Clash Scholarship for Puppeteers of Color has been awarded for conference participants. Robinson is the Director of Emerging Artists, and Leslie Carrara-Rudolph is in charge of Character Development. ![]() Pam Arciero serves as the Conference's Artistic Director. ![]() The Conference is sponsored by the Rose Endowment for Puppetry established by Jane Henson and dedicated to the legacies of Bil Baird, Jim Henson, Rufus and Margo Rose, Don Sahlin, Martin Stevens, Burr Tillstrom and Brad Williams and to the spirit with which they shared their artistry and themselves. The mission of the conference is to encourage puppet artists to create and communicate through the visual and kinetic form of the puppet, push beyond their personal boundaries and develop new works for puppet theater. The National Puppetry Conference, hosted at the Eugene O'Neill Theatre Center in Waterford, Connecticut, was established in 1990 by key founding members Jane Henson, George Latshaw, Richard Termine, Bobbie Nidzgorski, Bart P. Pidge and Miss Poppy in Pigeon Holed from the O'Neill performance. ![]()
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