Bart Roccoberton Jr.
- Director of the Puppet Arts Program, Bart is recognized worldwide as a leading advocate for Puppet Arts in the United States and abroad. Inspired by his knowledge and enthusiasm, UConn’s Puppet Arts alumni have worked on Broadway shows, including The Lion King, Little Shop of Horrors, and Avenue Q; in major motion film, including Spiderman 2; and on PBS’s Between the Lions and Sesame Street, as well as forming their own touring companies. Says Bart:
"In our program, we open our students' eyes and ears to the myriad of possibilities. Nothing is impossible. In fact, our graduates are renowned around the world for being exceptionally well qualified to do any type of work in puppetry – one of the key reasons so many of our students have gotten puppeteer positions in major motion films and Broadway productions."
Article of Interest: UNIMA Cites Roccoberton as ‘Chancellor of Puppetry Education’ for Global Influence
- Email: BP.Roccoberton@UConn.edu
Dr. John Bell
- One of the preeminent historians and theorists of Puppet Theater in the U.S., Dr. Bell is the Director of the Ballard Institute and Museum of Puppetry and an Associate Professor of Dramatic Arts at UConn. He is a founding member of the Great Small Works Theater Collective; was a member of the Bread and Puppet Theater Company from 1976 to 1986; and received his doctoral degree in theater history from Columbia University in 1993. He is the author and editor of many books and articles about puppet theater, including American Puppet Modernism, Strings, Hands, Shadows: A Modern Puppet History and The Routledge Companion to Puppetry and Material Performance. Says Dr. Bell:
"One of the basic challenges we face is how to communicate, not with our faces, but with our hands. In both the hand puppet and shadow puppet courses, you'll learn types of manipulation that help you develop hand dexterity. We teach students how to figure out the different positions and movements of the hand to enable the puppet to communicate thoughts and feelings. And we always look at traditional forms of puppetry from other countries to help students understand what makes a good performance, what kinds of stories can be told, and what contexts are useful for them to take advantage of in their own performances."
- Email: email@example.com
- UConn's Puppet Arts Program's Technical Supervisor, Paul guides students through the process of designing, creating, and performing puppets for their projects and for the Connecticut Repertory Theater. His profound love of machines and the parts that make them go, along with his obsession with the people of the industrial age, are the driving forces behind much of his work. Paul's goal is to push puppetry forward by infusing traditional forms and techniques with 21st century materials and processes. Says Paul:
"Most of our online students can't interrupt their lives for two years to come to campus to study puppetry. The online graduate certificate program offers the perfect solution. You can try out one course or take the entire four-course program. Plus credits are directly transferrable to the MA or MFA in Puppet Arts at UConn. Some students use the program as a stepping stone to getting a Master's degree. Whether you choose the traditional route or go online, you'll get the benefit of our program’s 50 years of teaching puppetry, along with all the resources and networking opportunities that a large university like ours provides."
- Email: firstname.lastname@example.org
Fergus J Walsh
Adjunct faculty member in UConn’s School of Fine Arts, Dramatic Arts Department, Fergus is a puppeteer currently working in New York City. In 2014 he co-founded Acheson Walsh Studios (AWS), a kinetic creation studio providing design, fabrication, direction, and performance services. Recent clients include Cirque Du Soleil (Toruk), Lincoln Center (The King and I), Radio City Music Hall (The New York Spectacular), and The Lyric Theater on Broadway (On The Town). Says Fergus:
"The entire film industry is going back to the original ways of using actual puppets instead of computer animated graphics. Puppets are far more realistic – the human eye can spot if something is fake. No matter how advanced computer generation is, it will never live up to the actual physical thing of being there."
- Email: Fergus.Walsh@UConn.edu
Dr. Annie Katsura Rollins
Dr. Annie Katsura Rollins is a researcher, theatre and puppetry artist, and practitioner of Chinese shadow puppetry, studying as a traditional apprentice since 2008. Rollins has received a Fulbright Fellowship, the Confucius Institute Joint PhD Research Fellowship and a Canadian SSHRC Doctoral Fellowship for her research. She recently completed her PhD in Montreal at Concordia University’s Interdisciplinary Humanities PhD program on the precarity of safeguarding traditional puppet forms. Recent venues for exhibitions, lectures and performances include The Art Institute of Chicago, The Montreal Botanical Gardens, The Center for Puppetry Arts in Atlanta, Bucknell University, Luther College, the Linden Center in Yunnan China, and the Rietveld Academie in the Netherlands. Annie has published articles in Puppetry International, Asian Theatre Journal, Manip, and Anthropology Now and created the first comprehensive Chinese shadow puppetry site in English at www.chineseshadowpuppetry.com.
"UConn's Puppet Arts Online Graduate Certificate is the best way to further your knowledge and understanding of the puppets arts without having to put your life on hold. The program is just as challenging and rigorous as the in-person courses and has been thoughtfully adapted into a myriad of virtual mediums. In the World Puppet Theatre course, students are taken on a world tour of forms and histories to discover both the diversity and the similarities between traditions. By thinking critically about puppet traditions and their contexts, the course hopes to enlighten the work you do with puppets and performing objects in your every day life."