is the chief in charge of the Second Stringers team. He has a generous profile, a wicked mind and four eyes for details. He is best known for his moody character but he is the best of both worlds.
Stay close to find his thoughts!
HOW TO ENJOY ‘THE SECOND STRINGERS’
‘ The Second Stringers’ is a work-in-progress pseudo-animated narrative project.
I refer to it in terms of ‘pseudo-animated’ as it doesn’t really work without your imagination. The narrative becomes ‘animated’ when you start playing the characters. You will virtually meet four finger character puppets talking about different aspects of life. When you read their stories, you will have to imagine their moves, expressions and reactions. The success of the story also depends on your playfulness. Therefore, before you read the stories, review the ‘instructions’.
Then, enjoy my little game!
THE SECOND STRINGERS are a finger character puppet group. Their home country is Fingerland, a little underground theatre based at the eastern suburb of TUSOP (The United Studios of Puppet Theatre).
A Second Stringer is a small puppet formed only of “a head’’ and manipulated by one finger, generally the index. But you can do better, if you want. The hand of the puppeteer becomes the body of the puppet.
THE SECOND STRINGERS are presenting pseudo animated short narratives.
THE SECOND STRINGERS are manipulated by Ankado.
CONTEXT: A Second Stringer is a kind of puppet once part of a specific studio, who left its own place in order to build for itself a stronger theatrical career and realised on the way that the rules of other TUSOPT studios do not even allow this kind of puppets to play. Some subjects are allowed though, regardless of education or training: cleaning, feeding the other breeds or building new stages for the expending studios. However, they need ”work permits” to do so.
WHAT ANKADO SAYS ABOUT THE NARRATIVE
My work with The Second Stringers is a work in progress narrative. Oddly enough, each of the episodes is developed under the influence of the ‘present time’. However blurred the meanings may seem, I am not stressing upon certain facts; I am aiming for the emotional animated experience drawn from those events. This is why I am not counting on the fact that you might or not read the same newspapers, watch the same TV programs or live in the same house as I do. I am counting on an emotional response from my audience and a creative output.