Puppet and puppetreat
Yiyang Sun
what kind of daily ritual do we need ?
what will happen when body treatment meets experimental puppetry？
what is puppetreat?
INTRO
This one-one treatment explores the body as both sculpture and puppet through the lens of the “Talmi Method” ——a holistic body training approach that integrates multiple traditions. Situated in the fragile threshold between half-sleep and half-wake, participants will be guided into embodied puppetry, where muscular release, skeletal alignment, and perhaps endogenous image-making intertwine.
By combining somatic treatment with performative experimentation, the sessions of Pupptreat propose a living map of the body that animated between therapy and art, between physical care and immaterial image-creation.
Outcome
The embodied puppetry in between Half-sleep Half-wake
Through bone-setting, massage, and tactile guidance, we explore in the threshold state between
half-sleep and half-wake:
How to release bodily tension and constraints
How to transform the one-on-one performance into a “living sculpture”
the production of body–mind knowledge
Rethinking and mapping the ontology of puppetry under the embodied study
- Book the full treatment-90-120 minutes through email- yiyang.sun@artun.ee
- Puppetreat Performing No.1 9.12.2025 Eka Gallery Tallinn Estonian 20 minutes
Talmi Method
Developed by Martin Gruber and rooted in the Functional Integration ® lessons of his teacher Alon Talmi (one of Moshé Feldenkrais’s early students), the Talmi Method is a holistic body training approach that integrates multiple traditions. Originally designed to meet the high physical demands of performing artists on stage, it has since been widely applied in education, therapy, and the arts. At its core, the method employs mindful tactile guidance and embodied dialogue to help practitioners release habitual patterns, muscular tension, and physical imbalance, thereby cultivating freer movement, more balanced posture, and an enhanced quality of breath, voice, andpresence. Drawing from Feldenkrais, Rolfing ®, Zen Triggerpoint Therapy, Japanese osteopathy, martial arts, and Aikido, it forms a distinctive system of practice. Emphasizing interactive exchange, the Talmi Method creates a “living map of the body” between practitioner and receiver. It not only serves performance and therapeutic contexts but also offers a pathway for the exploration of embodied creativity.
关于About
孙逸阳（2000，上海），现居塔林，是一位从事手工影像与偶造像的导演。她的实践以当代偶的本体论为核心，以艺术实践的方式进行人体医学图像与民俗偶造像的研究，并关注内生图像—想象理论、象理论与身体-心理知识生产。
在创作中，她以套娃式（Matryoshka）结构构建巨型木偶与仪式性体验，以puppetreat为主要工作方法，探讨偶（puppet）及偶像（puppet image）如何塑造身体的视觉与心理表征，并由此提出“想象的人体”的思考。 她以“儿童之物”的去物质化、再物质化与动化过程为方法，以动物寓言故事为主题发展民俗超现实动画叙事，进行动画偶造象实验，并在阈限空间中创作巨大偶及游戏化的仪式性体验，探索动画、偶造像与具身认知之间的新关系。
Yiyang Sun (born 2000, Shanghai), currently based in Tallinn, is a director working with handcrafted moving images and puppets. Her practice centers on the ontology of the contemporary puppet, approaching human medical imaging and folk puppet-making through artistic research in contemporary art, and drawing on endogenous image–imagination theory, Xiang (象) theory, and the production of body–mind knowledge.
In her work, she employs a Matryoshka structural approach to construct giant puppets and ritualistic experiences. By using puppetreat and puppet making as her working method, she examines how the puppet and the puppet-image shape visual and psychological representations of the body, proposing the notion of the “Imagined body.” Using processes of dematerialization, rematerialization, and animation of “childish things,” she develops folk-surreal narratives based on her own unconsciously produced animal fables. Within liminal spaces, she creates giant puppets and gamified ritual experiences, exploring new relationships among animation, puppet figuration, and embodied knowledge.
Preface
What’s the game rule of game rule？
The controller of controller？
The cybernetic of cybernetic？
No.1 Puppet
You are going to experience the old folk tale The Blind Men and the Elephant through a 90-minute Puppetreat (embodied treatment) with an elephant object Playing .
“Once upon a time
There was a king.
She had an elephant.
But the king did not believe that it was an elephant,
So she found five blind people
The first blind person touched the elephant’s ears.
The second blind person touched the elephant’s trunk.
The third blind person touched the elephant’s eyes.
The fourth blind person touched the elephant’s feet.
The fifth blind person touched the elephant’s tail.
After each of them had touched the elephant.
Together, They told the king
The truth of the world.”
Documentation
Camera YaChuan Chen
Sculpture Yiyang Sun
Performer Yiyang Sun Seren Oroszvary
VoiceOver Seren Oroszvary
Flute Yiyang Sun
Edit Yiyang Sun 10.12.2025 Eka Gallery Tallinn Estonia
