Christophe Kiss

Puppet maker

Nayana Photography©Céline Duchesne

Puppets for the performing arts

Christophe makes puppets for theatre and musical performances
He uses lime wood for its lightness
His craft requires many different skills, including painting

It all started when Christophe Kiss was a teenager and saw a billboard for a puppet show. The young man was so intrigued by the puppet on the photo that he went to see the show, and then left knowing that he had found his path. Christophe describes his work as putting visual arts to the service of performing arts, and he particularly enjoys the collaborative aspect of his work with different craftspeople and artists involved in the process. Observing people and animals around him on a daily basis as well as history of art and civilisation are great sources of inspiration to him. Christophe shared a little maker's insight: wooden puppets are systematically split open, hollowed out and glued back together to make them lighter for the puppeteers to handle!

Interview

Nayana Photography©Céline Duchesne

Nayana Photography©Céline Duchesne

What are the aspects of puppetry that attracted you?: The art of puppetry is a space of intense freedom for the creation of visual arts. It is at the crossroads of several arts – visual, playwriting, dramatic or musical. It is particularly rich in collaborations, and requires many different skills.
What skills are required in order to make a puppet?: The creation of a puppet starts with the original drawing design, followed by the technical drawing for the making of the face-profile to scale. The puppet is then carved and painted. So the skills range from drawing to woodwork and painting.
Do you have one particular memory to share?: Being in the workshop for a long time in the company of Gargantua's army: knights, warriors, dragons, historical figures, birds and fantastic creatures... I would always stop to contemplate this magical universe in the dark before leaving the workshop.
Is the art of puppetry at risk of disappearing?: The know-how of this profession is in danger because no formal institution is passing it on. Although it still exists thanks to the perseverance of a few enthusiasts, concrete support for training would be essential for the survival of the profession.

Christophe Kiss is a master artisan: he began his career in 1993 and he started teaching in 2003