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Un ouvrage sur une figure emblématique du théâtre d'objet : Agnès Limbos. Un jour, à la fin d'un spectacle, un enfant a demandé : "Tu l'as trouvé où, ton spectacle? " Qu'est-ce qu'on répond à ça? J'ai dit : "Un matin, j'étais chez moi, j'ai entendu toc-toc-toc. J'ai ouvert la porte et là, j'ai vu un tout petit spectacle sur le seuil. Je me suis penchée, je l'ai pris et je l'ai fait entrer. Je l'ai déposé sur l'appui de fenêtre, à la lumière, et j'en ai pris soin.0Chaque jour, je l'ai arrosé et, petit à petit, il a grandi. Quand les amis venaient boire un verre à la maison, je disais : "Regardez, j'ai un petit spectacle sur mon appui de fenêtre", et les gens répondaient : "Oh, ça, ça va être un beau spectacle! "" Agnès Limbos.

Théâtre d'objets --- Limbos, Agnès --- Women puppeteers --- Puppeteers --- Puppet theater --- Toy theaters --- Limbos, Agnes. --- Théâtre --- Production et mise en scène. --- Limbos, Agnès --- Récits personnels. --- Mise en scène. --- Women puppeteers - Belgium - Biography --- Puppeteers - Belgium - Biography --- Puppet theater - Belgium

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"Wayang kulit, or shadow puppetry, connects a mythic past to the present through public ritual performance and is one of most important performance traditions in Bali. The dalang, or puppeteer, is revered in Balinese society as a teacher and spiritual leader. Recently, women have begun to study and perform in this traditionally male role, an innovation that has triggered resistance and controversy. In Women in the Shadows, Jennifer Goodlander draws on her own experience training as a dalang as well as interviews with early women dalang and leading artists to upend the usual assessments of such gender role shifts. She argues that rather than assuming that women performers are necessarily mounting a challenge to tradition, "tradition" in Bali must be understood as a system of power that is inextricably linked to gender hierarchy. She examines the very idea of "tradition" and how it forms both an ideological and social foundation in Balinese culture. Ultimately, Goodlander offers a richer, more complicated understanding of both tradition and gender in Balinese society"--

Shadow shows --- Women puppeteers --- Wayang. --- Sex role --- Ethnology --- Cultural anthropology --- Ethnography --- Races of man --- Social anthropology --- Anthropology --- Human beings --- Gender role --- Sex (Psychology) --- Sex differences (Psychology) --- Social role --- Gender expression --- Sexism --- Wajang --- Chinese shadows --- Gallanty-shows --- Shadow pantomimes and plays --- Shadow plays --- Shadow puppet plays --- Shadow puppetry --- Shadow theater --- Puppet theater --- Puppeteers --- Bali Island (Indonesia) --- Lesser Sunda Islands --- Civilization. --- Gender roles --- Gendered role --- Gendered roles --- Role, Gender --- Role, Gendered --- Role, Sex --- Roles, Gender --- Roles, Gendered --- Roles, Sex --- Sex roles