Who I am, why I do what I do.

Adam Bennett

This site is a bit about what I have done in the past and a lot about what I could do for you in the future. You can view my CV and Experience, read about the services I offer and find out where I hang out online. Below is more about my ongoing professional relationship with puppetry.

An Australian by birth, I have lived half my life in England and half in Australia. The majority of my working life has been in England and I consider both countries to be my home. I have been a professional puppeteer since 1988 and consider myself to be an experienced lead puppeteer for stage, TV and film.

I have created work for my own company DNA Puppetry and Visual Theatre with Rachel Riggs and I have helped create work for Theatre Rites, Blind Summit, Little Angel Theatre, Spare Parts Theatre, Lyric Theatre Hammersmith and Royal Lyceum Theatre Edinburgh.

Puppetry has been at the core of my artistic practice ever since I was lead puppeteer on a puppetry project as an acting student in Australia in the mid 80’s. Really good puppetry short circuits your intellectual response, works around your emotional response and affects you on an almost spiritual level. You become profoundly affected by these beings constructed out of inanimate material and breathed into life by the art of the puppeteer.

Something about shapes, objects, figures, materials manipulated in space and time symbolise our essential and common humanity and become a metaphor for our mental and physical responses to our interior and exterior worlds. At the more abstract end, puppetry becomes performed visual art bringing dramaturgy and theatre to the subconscious world through dreamlike imagery. At the literal end, puppet people and animals are simple and powerful representations of human and animal nature, playing with scale and relating to mask, mime, physical theatre practice and dance choreography. Puppets make the audience work harder, creating a greater investment between what is happening onstage and the audience response.

The visual poetry of puppetry, combined with the power of performance – either live onstage or onscreen – means puppetry has a power over us that will never fade. A hand-made magic.

RECENT ARTICLES BY ME on external sites
Making Michael – on developing the puppetry on ‘The Caucasian Chalk Circle’ Edinburgh Jan-Mar 2015

Leaving Little Angel
– reflecting on my experience of being Artistic Director of Little Angel Theatre in 2014

A Puppeteers Perspective
– on performing one of DNA’s recent shows for early years audiences ‘Cloud Child’

3 thoughts on “Who I am, why I do what I do.

  1. Dear Adam, Kay Yasugi has mentioned you will be visiting Australia soon. Our UNIMA Oz magazine is inviting a number of editors, rather than one. The scale of the online mag is too much for one person to do. Our plan is to have a group that puts together articles from many more places than Australia.
    Kay will be happy to combine these articles into a regular online issue. What are your thoughts?
    Cheers, Richard Hart, President of UNIMA Australia.

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