MEDIA / VIDEO | athousandtinysnips

As seen in THE NEW YORKER online.

TEDxBROADWAY

Say Yes | Hannah Kohl | TEDxBroadway

Say yes. This is Hannah Kohl’s approach to life, and it’s led her to unexpected careers, from writer of musical theater to expert in the art of papercutting. She shares photos of her intricate artwork and the story of how she got to where she is today. (New World Stages, New York City, February 22nd, 2016)

The Dramatist Magazine

"A THOUSAND CUTS" by Richard Morgan (December 12th, 2013) CLICK HERE TO LINK

Time-lapse of making the cover for "The Reality Check" issue of The Dramatist magazine (March/April 2016). This condenses 68 hours of intense snipping into a cheerfully relaxed 1 minute and 45 seconds!

"Buffalo Nickel" - the creation of a new snip for Tony Award-winning lyricist Lynn Ahrens set to her song "Buffalo Nickel Photoplay, Inc." from RAGTIME (music by Stephen Flaherty).

FINISHING TOUCHES: A quick time-lapse video captures the final snips on "Kara"

PUTTING IT TOGETHER: My papercuts debut at PUPPETS at Lincoln Center's Avery Fisher Hall

(Scroll down for video footage)

Matt Acheson's team of puppeteers and I work to turn my papercuttings into flat panels of puppetry for the New York Philharmonic's production of "A Dancer's Dream: Two Works by Stravinsky." After I finish the three pieces, they're photographed and enlargements are printed. I mount these pieces onto sturdy mat board, then cut through again.

Next, the team of puppeteers makes a series of hinges and moveable parts using a combination of wire, string, and wood. Once finished, the pieces are filmed live on stage and broadcast high above the orchestra and NY City Ballet's Sara Mearns.

First Test of "Sägenfest" Puppetry Panel Prototype

In this clip, you can get a sneak peek at the very first test of the prototype for one of the puppetry panels used in the New York Philharmonic/Giants Are Small co-production of "A Dancer's Dream: Two Works by Stravinsky." The puppetry team, led by Matt Acheson (director of puppetry for WAR HORSE) brought my piece to life using wire, string, wood, and ingenuity.

Finally, the puppeteers take the pieces onstage at Avery Fisher Hall while the videographer films them live. The images are cast above the orchestra as the dancers twirl below. The following picture is from the dress rehearsal at Avery Fisher Hall.