On June 11th, I presented my paper, “The End of Mind Reading” in the Sir Patrick Stewart building at the University of Huddersfield in England. They liked it, and will likely publish it after peer review, but I was warned that it will be very controversial. Hahaha. Awesome!
On Halloween — appropriately enough — my paper, ‘(Re)Discovering the Body in Mentalism’ was published under my former stage name Edward James Dean, in the University of Huddersfield’s Journal of Performance Magic. Regarding his paper, the editor of this edition, Madelon Hoedt, writes:
‘In “(Re)Discovering the Body in Mentalism” by Edward James Dean, the author discusses the role of the body in the performance of mentalism, or rather, the perceived lack thereof. As Dean argues, the performance of mentalism, in particular, is seen as an activity of the mind, first and foremost, foregoing any notion or interpretation of the physical. In his essay, Dean is opening a discussion as to how the body of the mentalist needs to be reassessed in order to create a different, and perhaps more effective, type of performance.’
To read ‘(Re)Discovering the Body in Mentalism’ click here
I built this wooden Punch puppet based on the mid 1800s illustrations of the Piccini Punch by George Cruikshank. And although the crocodile was not added to the cast until decades later, I also built a crocodile. If I have access to a workshop again one day, I’d love to finish the set.
When I was doing my MFA in physical theatre in Italy, I studied the Roy Hart voice technique under the legendary Kevin Crawford. I chose to do a project on the traditional Punch and Judy puppet show. Punch’s voice was done with the secret technique with a traditional “swazzle.” The others all spoke some form of gibberish/grammelot. I made the puppets and built the fit-up with materials and tools at hand. The puppets were worked in the old school “over the head” style.
An interpretation of the classic plot “Honey” as first performed in Paris (circa 1920) by the legendary clown duo Dario and Bario. With Chloe Whiting Stevenson and Mickey Lonsdale, advised by the Dimitiri School’s Joe Fenner at the Accademia dell’Arte in Tuscany.