Imagine the weight of a dragon pressing down on you, not in fire and fury, but in cardboard and choreography. That’s the reality for the puppeteers in A Knight of the Seven Kingdoms, the Game of Thrones prequel where Tanzyn Crawford shines as Tanselle. Her character captivates the stoic Dunk (Peter Claffey) with performances that are both intimate and larger than life.
Tanselle isn’t just another face in the Ashford tournament’s bustling camp; she’s the heart of a spectacle. In a Westeros where dragons are legend, her troupe breathes fire back into the stories with elaborate costumes, detailed props, and a healthy dose of stagecraft.
During a press gathering for A Knight of the Seven Kingdoms, io9 spoke with Crawford about the intricate puppet shows featured prominently in the early episodes. Even with their brief screen time, these performances feel complete, like stolen glimpses into a living, breathing world. Think of it as theatre in media res. The actors must go big, even though they go home quickly.
“The puppet show choreography was a collaborative effort,” Crawford explained. “Inside the dragon, there were five or six people controlling everything. It was large and very heavy. I feel like I’m getting undue credit. They really made that piece of cardboard come to life. It was very cool.”
As for her own role alongside the mechanical dragon, Crawford had to make room for the puppeteers. “I just tried my best to make it easy for them to fit in between the choreography,” she said. “For the other shows, we choreographed together. We planned it as a stage show, making sure we faced the audience. We tweaked it a little for the camera, but it felt like rehearsing for the stage.”
Dunk’s story takes center stage in A Knight of the Seven Kingdoms, much like in George R.R. Martin’s original novellas, so Tanselle remains somewhat of an enigma. But, like Dunk, you might be interested to learn that her nickname (“Tanselle Too-Tall”) translates directly from page to screen, highlighting an attribute that the towering hedge knight finds particularly appealing.
“I see her as a creative person, someone who finds joy in painting and crafting during quiet moments,” Crawford shared. “The stage might not be her favorite, but she enjoys it; otherwise, she wouldn’t do it.”
How does Tanselle balance her artistic side with performing?
Think about the last time you witnessed a street performer lost in their craft, oblivious to the growing crowd. Crawford sees a similar duality in Tanselle. While there’s a hint of shyness when she’s on stage, there’s also a quiet confidence born from talent and experience.
“She is a leader within the troupe, knowledgeable and a long-time member with her uncle and aunt,” Crawford explained.
A Knight of the Seven Kingdoms airs Sundays on HBO and HBO Max.
What is “method acting” and how does it relate to puppetry?
Method acting is an approach where an actor immerses themselves in a character’s emotional world. While Tanzyn Crawford did not take this approach, puppetry often demands a similar level of commitment. Puppeteers pour their emotions and intentions into inanimate objects, giving them life. This level of empathy is not unlike method acting.
What kind of research goes into playing a historical character like Tanselle?
Consider the effort put into historical reenactments. Every detail—from clothing to customs—is painstakingly recreated. Similarly, actors in historical dramas must immerse themselves in the world of their characters. For Tanzyn Crawford, research involved understanding the social dynamics and artistic traditions of Dorne, the region Tanselle calls home.
Where does A Knight of the Seven Kingdoms fit into the Game of Thrones timeline?
The series takes place roughly a century before the events of Game of Thrones, so the Targaryen dynasty is still in power, and the memory of dragons is still fresh in the minds of Westeros. It’s a time of relative peace, but simmering tensions foreshadow the conflicts to come.
What can A Knight of the Seven Kingdoms teach us about performance?
Anyone who has ever faced a crowd knows this maxim: performance is about more than just talent; it’s about connection. Tanselle’s performances, whether with puppets or as a knight herself, highlight the power of storytelling to transport audiences and forge emotional bonds.
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How much does Tanzyn Crawford earn from A Knight of the Seven Kingdoms?
While the specific earnings of actors are rarely made public, leading roles in major series like A Knight of the Seven Kingdoms can be lucrative. It’s estimated that performers of this caliber can command anywhere from $50,000 (€46,500) to $200,000+ (€186,000+) per episode, dependent on experience, prominence, and contract negotiations.
As the narrative unfolds, will Tanselle’s artistic spirit ignite a new chapter in Westeros?