MANIPULATE
GAME CHANGER Gareth K Vile looks ahead to the latest installation of manipulate as the festival celebrates 12 years of puppetry, poetry and provocative performance
evolution of
T he the manipulate festival of visual theatre has seen it develop from its roots in puppetry and more physical forms of performance into an annual boundary-pushing celebration of international and Scottish theatre. Over 11 days, it entertains and reimagines apparently familiar ideas and stories, lending them an urgent, contemporary meaning and relevance. Artistic director Simon Hart has pursued this vision for more than a decade, and throughout this time has supported Scottish artists – through workshops and main- stage productions – while exposing audiences to the best visual theatre from around the world. ‘One of Puppet Animation Scotland’s central roles is to support Scottish-based theatre- makers to develop great work,’ Hart explains. ‘I think it’s vitally important that we provide regular opportunities for companies and artists to present their work successfully at manipulate, be that an initial creative idea in our Snapshots series, or more substantially realised pieces in our Rising Voices programme, all the way to finished productions ready for national and international touring.’
38 THE LIST 1 Feb–31 Mar 2019 For 2019, Scotland is represented by Karl Jay-Lewin and Matteo Fargion, Glasgow’s