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C A N N O P Y

Art is True North

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Hubs & Huddles column of Cannopy Magazine, which focuses on multi-purpose performance centres
Ensemble column, which highlights classical artists and ensen, which highlights classical artists and ensembles
Ellington column, which features jazz vocalists and instrumentalists
Studio Sessions column, which focuses on in-depth artist profiles — particularly visual artists in their creative spaces
Materials column, which focuses on artists working across various creative media; Profiling Various Creative Media
Spaces column, which highlights galleries anSpaces column, which highlights galleries and exhibit venuesd exhibit venues
Fourth Wall column, which focuses on the global theatre industry
 In Motion column, which focuses on the global dance industry
In Focus column, which highlights the global film industry
Alt.itude column, which focuses on global alternative music
Homegrown column, which highlights Canadian alternative music
Arts & Letters column, which focuses on essays, opinions, and ideas related to the arts

Puppet Master: Toby Olié

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Toby Olié by Michael Wharley

How the British puppeteer is redefining the creative potential of the art form.

WORDS BY TASH COWLEY | LONDON | THEATRE

NOV 16, 2022 | ISSUE 7

“These are twice life-size...so, including the body, they’re about 12ft!” Dialing in via Zoom from his studio in London, Toby Olié has pulled the disembodied head of Pinocchio’s father, Geppetto, from a set of shelves teeming with curious creatures. A jewel-green, spindly-legged cricket, and an inquisitive bird with sapphire plumage are just two of the many puppets peering down, longing to be picked up and given a pulse. Toby is a serious name in this world; as a Puppetry Director and Designer, Toby’s rich catalogue of work in the theatre includes War Horse, Pinocchio, A Monster Calls, Little Shop of Horrors, and many more. In the midst of developing two new projects, Toby sat down with smART Magazine to discuss his process, the changing face of live artistry, the pivotal role of playfulness on stage, and the need for puppet-makers to be as flexible as their subjects in order for the art form to survive.

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