Academic literature on the topic 'Glove-puppet'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Glove-puppet.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Glove-puppet"
1
Lin, Chih Chung, Tsai Yen Li, and Gee Chin Hou. "Procedural animation for glove puppet show." International Journal of Arts and Technology 4, no. 2 (2011): 168. http://dx.doi.org/10.1504/ijart.2011.039843.
Full text
2
Usmanova, Lola. "A SPECIFIC FEATURE OF THE GLOVE DOLL AND PUPPET." CROSSROADS OF CULTURE 3, no. 2 (2020): 58–60. http://dx.doi.org/10.26739/2181-0737-2020-3-10.
Full text
3
Di Fazio, Francesca. "Reinventing Shakespeare in the puppet booth: dramaturgical experiments with glove puppets in Northern Italy." Cahiers Élisabéthains: A Journal of English Renaissance Studies 117, no. 1 (2025): 40–54. https://doi.org/10.1177/01847678251339028.
Full textAbstract:
Puppet theatre has a long tradition of rewriting, with Shakespearean drama among its most frequently staged sources. In nineteenth- and early twentieth-century Italy, puppeteers often introduced popular or comic characters alongside Shakespearean protagonists, preserving the core narrative while sometimes disrupting its dramatic framework. This practice is still true today and is further explored in contemporary rewritings that challenge theatrical traditions. This article examines two Italian glove puppet adaptations – Amleto, ovvero Arlecchino principe di Danimarca , an anonymous play from 1898, and Gigio Brunello and Gyula Molnár's 2001 Macbeth all’improvviso – and seeks to highlight their dramaturgical innovations and the unique capacity of puppetry to reinterpret canonical texts.
4
Ramasari, Maria, and Windi Virgia. "The Hand and Glove Puppet in Teaching English as Foreign Language." ELT-Lectura 6, no. 1 (2019): 67–73. http://dx.doi.org/10.31849/elt-lectura.v6i1.2269.
Full textAbstract:
The objective of this research was to find out whether or not it was significantly difference achievement between the tenth grade students of MA Negeri 1 (Model) Lubuklinggau who were taught speaking by using Hand and Glove Puppets and those who were not taught speaking by using Hand and Glove Puppets. The researcher used quasi-experimental research. The sample of this research was taken by using cluster random sampling with 30 students in the experimental group, and 30 students in the control group taken from two classes of the tenth grade students of MA Negeri 1 (Model) Lubuklinggau. Based on the result of the data analysis there were three major findings namely: (1) the students’ score in the pre-test, (2) the students’ score in the post-test, and (3) the result of paired T-Test calculation. The mean score in the pre-test of the Experimental group was 63.88 and the mean score in the pre-test of the Control group was 49.77. While, the mean score in the post-test of the Experimental group was 72.44 and the mean score in the post-test of the Control group was 56.21 The result of paired t-test calculation shows that tobtained was 7.70 in the pre-test of the experimental and control group and 8.91 in the post-test of the experimental and control group. It was higher than 2.045 as the critical value of the ttable of degree of freedom 29 with 0.05 significant level for two-tailed test. So, the null hypotheses was rejected and the alternative hypotheses was accepted. It meant that it was effective to teaching speaking by using Hand and Glove Puppets to the tenth grade students of MA Negeri 1 (Model) Lubuklinggau.
5
Guidicelli, Carole, Anna Leone, Sara Maddalena, Didier Plassard, Janice Valls-Russell, and Jean Vivier. "On Pulchi Shake and Spear : An interview with Bruno Leone." Cahiers Élisabéthains: A Journal of English Renaissance Studies 117, no. 1 (2025): 128–36. https://doi.org/10.1177/01847678251339181.
Full textAbstract:
This interview explores the work of Bruno Leone, a Neapolitan puppeteer, credited with reviving the traditional Neapolitan guarattelle theatre. Leone discusses the history and characteristics of Guarattelle, a glove puppet theatre centred on the character of Pulcinella. He speaks of his training with Nunzio Zampella, his work in training new puppeteers, and the founding of the Scuola delle guarattelle. Leone also gives an insight into his creative process, his target audience and his approach to performing abroad. He also explains his work adapting classic authors such as Shakespeare, Cervantes, and Dante for puppet theatre, and exploring topics such as villainy and violence through puppets. Leone emphasises the importance of audience participation and the unique qualities of Neapolitan puppetry.
6
Wang, Chao-Ming, and Shih-Mo Tseng. "Design and Assessment of an Interactive Role-Play System for Learning and Sustaining Traditional Glove Puppetry by Digital Technology." Applied Sciences 13, no. 8 (2023): 5206. http://dx.doi.org/10.3390/app13085206.
Full textAbstract:
As an ancient performing art, the puppet show was popular entertainment for early civilians. However, with the advance of media technology, traditional puppetry declined gradually, and old puppets became relics displayed in museums. In this study, an interactive role-play system for learning and sustaining traditional glove puppetry is proposed. Constructed with RFID and multimedia techniques to replace the traditional static displays of puppetry, the proposed system allows in-person experiencing of operating real puppets of famous roles. Statistical analyses of the comments collected from expert interviews and the users’ answers to a questionnaire survey lead to the following findings: (1) it is easy to understand and operate the puppets as physical interfacing with the system; (2) the interactive system design conforms to the 3E indicators of easiness, effectiveness, and enjoyableness; (3) the users’ experiences of role-plays emulating experts’ puppet shows help learn the knowledge and skills of the traditional puppetry; (4) in-person operations of real puppets and experiences of RFID-based interactive interfacing bring the users feelings of pleasure and senses of achievement as puppet performers; and (5) the content designs and operations of the puppet characters can turn into a fine material for learning the traditional puppetry.
7
Maistre, Cathrine Le, and Diane Sprackett. "Listening to Children—Learning From Children." LEARNing Landscapes 2, no. 2 (2009): 167–86. http://dx.doi.org/10.36510/learnland.v2i2.302.
Full textAbstract:
This article reports the experience of a teacher and researcher who instituted a problem-posing component in her Grade 2/3 mathematics class with the help of a glove puppet, "Sylvester." The activities, based largely on the intuition of an expert teacher, are substantiated by the literature on problem posing. The authors describe what happened in the classroom and some of the benefits of the strategy. Among the most important of these benefits was what the teacher learned about the children and their understanding of mathematics by listening to what they were saying.
8
Stenberg, Josh. "Wayang potehi: Glove puppets in the expression of Sino-Indonesian identity." Journal of Southeast Asian Studies 46, no. 3 (2015): 391–416. http://dx.doi.org/10.1017/s0022463415000314.
Full textAbstract:
This article examines wayang potehi, a cloth glove puppet theatre of southern Fujian origin performed on Java. It outlines the genre's emergence in Fujian, its arrival in the archipelago, and historical and contemporary practice. This article seeks to respect potehi's Hokkien roots, Indonesian practice, and the place of its genre in a dynamic regional history as it traces the development, practice and uses of the genre. Contemporary potehi patronage often exhibits the strategies of the mixed-culture non-Chinese-speaking communities of East and Central Java to perform a streamlined, integrationist, and loyal Sino-Indonesian identity.
9
De Oliveira, José Luís. "A relação da literatura de cordel na antroponímia dos fantoches populares portugueses." Jangada: crítica | literatura | artes, no. 10 (April 7, 2018): 4–18. http://dx.doi.org/10.35921/jangada.v0i10.77.
Full textAbstract:
RESUMO: O mundo do teatro de bonecos em Portugal está envolto numa bruma, devido, em parte, a algum desinteresse da classe teatreira, mas principalmente, à escassa documentação sobre esta arte ancestral. O teatro de marionetas popular era pouco palavroso, em oposição ao teatro de atores de carne e osso, onde o verbo era fundamental. O repertório de texto diminuto, transmitido por via oral, levou à perda substancial de um entretenimento que fez os encantos de miúdos e graúdos ao longo dos séculos. Uma das lacunas é a génese dos próprios apodos pelos quais os bonifrates eram conhecidos. Atualmente encontra-se vulgarizado o cognome Dom Roberto (conhecido até 1962 por robertos) para designar os bonecos de luva populares portugueses. Este evoluiu a partir do drama de cordel adaptado da lenda medieval Roberto do diabo e que fez parte do repertório do teatro de bonecos populares portugueses.
 PALAVRAS-CHAVE: Teatro de bonecos, literatura de cordel, folhetos volantes.
 ________________________
 ABSTRACT: The world of puppet theater in Portugal is shrouded in mist, partly due to some disinterest in theater professionals, but mainly due to the scarce documentation about this ancestral art. The popular puppet theater was of few text, as opposed to the actors theater, where the verb was fundamental. The diminutive repertoire of orally transmitted text has led to the substantial loss of entertainment that has made the charms of kids and adults over the centuries. One of the gaps is the genesis of the nicknames for which puppets were known. At the moment the name Dom Roberto (known until 1962 by robertos) is popularized to designate the Portuguese glove popular puppets. This evolved from the chapbook drama adapted from the medieval legend Robert the devil and that was part of the repertoire of Portuguese popular puppet theatre.
 KEYWORDS: Puppet theater, chapbooks.
 
10
Cohen, Matthew Isaac. "Glove Puppet Theatre in Southeast Asia and Taiwan ed. by Kaori Fushiki and Robin Ruizendaal." Asian Theatre Journal 35, no. 2 (2018): 500–502. http://dx.doi.org/10.1353/atj.2018.0046.
Full textDissertations / Theses on the topic "Glove-puppet"
1
HUNG, SHU-JEN, and 洪淑珍. "THE GLOVE PUPPET CARVING IN TAIWAN：A STUDY OF CHIAO-CHENG-CHEN PUPPET STUDIO IN CHANG-HWA." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/56253191788812226111.
Full textAbstract:
碩士<br>國立臺北大學<br>民俗藝術研究所<br>92<br>This research intends to construct the Hsu family history, and to investigate the art of glove puppet carving at the Chiao-Cheng-Chen Puppet Studio. Field research and the use of historical documents are the two methods for studying the carvers’ family history; while comparative analysis is used to examine the art of puppet carving.
There are five stages in the development of Taiwanese glove puppet carving: the trial and error period, the budding period, the blooming period, the transitional period, and the diversified period. During the long tradition of glove puppet carving in Taiwan, the Chiao-Cheng-Chen Puppet Studio in Chang-Hwa is the oldest, the most noteworthy, and most creative among all the puppet studios. Hsu Hsi-Sun’s puppet carving career began during the Kominka Movement of the colonial period in the early 1940’s. He then led his three sons Hsu Bing-Gung, Hsu Bing-Biao, and Hsu Bing-Yuan, through the flourishing period of “Jing-Kwang-Hsi” in the 1950’s and 1960’s. This family continued to play an important role in the “Television Glove Puppet Show” in the 1970’s and 1980’s. Even today, the Chiao-Cheng-Chen Puppet Studio lead by Hsu Bing-Yuan is still very well known.
During the past sixty years, the puppets created by the Chiao-Cheng-Chen Studio have spanned across various artistic styles. These include the styles of traditional puppets, the “Chien-Hsia” (Knight) puppets, the “Jing-Kwang-Hsi” puppets, puppets for television shows, and collectible puppets for connoisseurs. The Chiao-Cheng-Chen Puppet Studio is arguably the most creative and is the leading glove puppet carving company in Taiwan.
Hsu Hsi-Sun and his three sons have been active in different time periods and have demonstrated talents in different fields. Hsu Hsi-Sun is the forefather of glove puppet carving in Taiwan. Most active from 1945 to 1963, his works encompass traditional puppets, the “Chien-Hsia” (Knight) puppets, and the “Jing-Kwang-Hsi” puppets. He was widely recognized for his distinguished achievement in traditional puppet carving. He was also respected for being the creator of the uniquely Taiwanese “Chien-Hsia” (Knight) puppets, which differed from the traditional Chinese style. The three sons of the Hsu Hsi Sun continued on different paths in 1963. Hsu Bing-Gung inherited the skills of helmet making and puppet face painting. Unfortunately, after Bing-Gung’s death in 1993, no one has continued his heritage. Hsu Bing-Biao was renowned for his “Jing-Kwang-Hsi” puppets. He withdrew gradually from puppet carving in the early 1980’s, to focus on his Buddhist supplies shop. Hsu Bing-Yuan’s reputation grew when his puppets became extremely popular in the 1970 television show “Yun-Chou-Da-Ru-Hsia Shi Yen-Wen” (literally, “The Yun-Chou Confucian Knight, Shih Yen-Wen”). His fame continued through to the movie, “Shen-Shih-Chuan-Shwo” (literally, “The legend of the Sacred Stone”) in 2000. Most recently, his works have been created mainly for collectors.
The Hsu family defined the historical development of glove puppet carving in Taiwan. The establishment, blossoming, and transformation of the Chiao-Cheng-Chen Puppet Studio, also echoes the rise and fall of glove puppet theater in Taiwan.
2
CHIEH, CHEN YU, and 陳語婕. "A Study of Pili Glove Puppet “Pili Xia Ying:The Wulin Warriors” Text." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/3w8bq4.
Full textAbstract:
碩士<br>國立臺北教育大學<br>台灣文化研究所<br>104<br>In this study, through the analysis by " Pili Xia Ying:The Wulin Warriors” text, get to the reasons why "Pili Glove Puppet" can attract the audience for over thirty years and continued in.
The first chapter explains the study of motivation and purpose of "Pili Glove Puppet", as well as why to choose " Pili Xia Ying:The Wulin Warriors” as the topic of the study. Also this chapter would appear the study of methods and procedures, addition, it also contains "Pili Glove Puppet" relevant literature.
The second chapter to the fourth chapter of this thesis is the study core of "Pili Glove Puppet" based by " Pili Xia Ying:The Wulin Warriors” text. In this study, " Pili Xia Ying:The Wulin Warriors” text will be divided into three parts, the "Content"、"Structure" and "Implication Subject", to be analyzed.
The second chapter is the stated content and its characteristics of "Pili Xia Ying:The Wulin Warriors" text. After analysis, we find the high quality content of "Pili Glove Puppet " included two major characteristics is "modern elements" and "surreal elements".
The third chapter is to explore the structure and its characteristics of "Pili Xia Ying:The Wulin Warriors" text. After analysis, we find that "Pili Glove Puppet" in line with the development of "well-made play" and "Three-act Rhythm plot diagram ". In terms of plot structure of the text characteristics, through the accumulation of historical evolution Taiwanese puppetry and plus the self-development of " Pili Glove Puppet " for over thirty years, the structure of "Pili Glove Puppet" appears huge and integrated.And the characteristics of each episode are the opening battle scenes and the next episode of remains to be seen.
The fourth chapter is to explore the implication of the the spirit on "Pili Xia Ying:The Wulin Warriors" text. Implication is the implication of art in life, from the depth of chapters after that: "Pili Glove Puppet" Implications of the spirit is "Life."
The fifth chapter is the conclusion.The difference of this study is to draw the relevant graph by " Pili Xia Ying:The Wulin Warriors” text exactly. From these graphs, we could find obviously the reasons why "Pili Glove Puppet" can attract the audience for over thirty years.
3
Hsish, Yi-ting, and 謝依婷. "A Case Study for the Managing Strategies and Teaching Methods of the Glove-Puppet Show Group in the Elementary School：The Glove-Puppet Show Group at Ping-Deng Elementary School in Taipei City." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/37307848960208823080.
Full textAbstract:
碩士<br>國立台北師範學院<br>音樂研究所<br>94<br>Abstract
The purpose of this case study was to examine the goals and ways of managing the Glove-Puppet Show Group at Ping-Deng elementary school in Taipei city, to analyze the strategies of teaching methods, and to describe the predicament and problem solving of the teaching team. The research data from literature reviews, interviews, participant observations and document analyses were collected and analyzed.
The primary findings of this study were as follows:
1. The purposes of managing the glove-puppet group were to develop student’s aspects of cooperation and to improve their ability of concentration, and, more important, to preserve and spread the heritage, by experiencing and learning the art of glove-puppet show.
2. The strategy of managing the glove-puppet group in this elementary school was to include the performance training as a part of elective courses which were opened to all 3 – 6 grade students. The teachers of the group were hired not only from the elementary school but also from some professional troupes outside of the school. The budget was fundamentally based on government’s support and the income of performance.
3. The training program could be divided into two parts: onstage and music. The onstage training program focused on the skills of manipulating puppets and the special way of speech in the show. The music training program focused on how to play the music instruments for the onstage glove-puppet show.
4. The explanation and demonstration were the two main teaching methods in the Glove-Puppet Group, and librettos of the traditional glove-puppet show was the dominant teaching materials.
5. The lack of time, budget, and participated students were the three key predicaments of the Glove-Puppet Group. It relied on teacher’s devotion and the finely cooperation of the teaching team to solve these difficulties.
Key word: case study, glove-puppet show group, management of the group, teaching of the group, teaching team
4
Wang, Han-chiang, and 王瀚強. "Compliance gaining message strategies: An examination of Pili Glove Puppet TV program the Decisive Thunderbolt." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/86873652829057544824.
Full textAbstract:
碩士<br>世新大學<br>口語傳播學研究所<br>103<br>The purpose of this paper is to explore the Pili Glove Puppet TV program the Decisive Thunderbolt that occurred among the Marwell & Schmitt's Taxonomy of 16 influence tactics and the role of different standpoint （upright, villain and neutral） and to explore the role of interpersonal respective for compliance–gaining of preferences.
The most successful strategy is the expertise（negative）, most failed strategy is aversion strategy. Successful strategy is the expertise（negative）, the failure of strategies is aversion strategy. In addition, the use of altruistic preferences upright role, the role of villain and neutrality are using the threat of strategies preferences. The role of interpersonal relationships and obtain compliance–gaining preferences were: master–slave relationship（threat）, subject and object（commitment）, friends （altruism）, family（Respect +）, colleagues（threat）, partner（respecting +）, hostility（threat）, cooperation（expertise –）, teachers and students（the threat）.
Extensive use of threats, the reaction being the villain conflict, the authority's reverence（or higher given pressure）, the conflict between family and the generations, colleagues and competition among colleagues and even the teachers would use the threat of strategies to stimulate student learning or blow into the workplace competitor. It also reflects the part of today's culture of Taiwan society, but also to Pili popular features more intense.
5
jie, jhang ren, and 張荏傑. "The analysis of market segmentation of cultural creative industry - take example for Glove Puppet Show." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/27001113997256786442.
Full textAbstract:
碩士<br>佛光大學<br>經濟學系<br>95<br>The analysis of market segmentation of cultural creative industry - take example for Glove Puppet Show
Abstract
In the 21st century, under the operation of economic system and the trend of valuing leisure, the development of cultural creative industry is considered an important factor to enhance national economic development and social quality of life, and glove puppet show is one of them.
Glove puppet show follows the evolvement of the times to change. In order to maintain its tradition, keep its competitiveness, and conform to the trend of the times, the glove puppet show with marketing ways of new commercialization slowly takes shape. It changes a lot in puppetry, costumes, plots, narration, acousto-optic effect, photo editing, etc. Through delivery of questionnaires and statistical analysis of reliability, factors, cluster, etc., this essay uses the market segmentation method to sort out the outline of consumer’s expectations or demand to glove puppet show in Yilan area and develops the service quality of products that answers to customer’s expectations to strengthen the competitiveness of industry operating of glove puppet show. The study found out that:
(1) It can be divided into 5 groups, independent calculation type, fashionable enjoyment type, traditional conservation type, natural convenience type, showy selfhood type, to be explored.
(2) The study found that, in the characteristics and interests of products of glove puppet show, the significant behavior of divergence valuing of various market segmentations includes: traditional literature, plot content, quality, acousto-optic effect, convenience, diversity, and message speed.
(3) In dubbing language and narration dubbing, the differences are not particularly significant. So entrepreneurs can try to use different dubbing languages and use different people for narration dubbing. It is needless to let a person to interpret all the roles.
(4) Speaking of gender, in various consumer groups, the feminine proportion is more than the masculine proportion in independent calculation and traditional conservation these two groups.
(5) On education level, research institute educational background is mainly on independent calculation and tradition conservation these two types. But university and college educational background are mainly on fashionable enjoyment and natural convenience these two types.
(6) We found out that consumers of natural convenience type on Type 4 have seriously used network to illegally download play sets of glove puppet show. It needs the government to take the problem more seriously.
Key words：cultural creative industry, glove puppet show, market segmentation, Analysis of Reliability, Analysis of Factors, Analysis of Cluster
6
KUO, CHIEN-FU, and 郭建甫. "The Study on “Jin for Soft Cap” in the Traditional Glove Puppet in Northern Taiwan." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/38z98k.
Full textAbstract:
碩士<br>中國科技大學<br>視覺傳達設計系<br>106<br>Among many dramatic performances in Taiwan, the glove puppet is a form of performance that puppeteers manipulate the puppets instead of human performance. In the early days of the 19th century, the number of people who came to Taiwan from Quanzhou and Zhangzhou in southern Fujian increased dramatically, and they also promotes their folk religions, ceremonies, leisure as well as entertainment to Taiwan. Introduced to Taiwan at that time, the glove puppet has gradually became a show of offering thanks to gods that is an indispensable part of ceremonies of welcoming and seeing off a god (a folk festival in which gongs and drums are played, and lively costumes worn, all in honor of a god whose statue is carried through the streets of a village in a procession), as well as festivals in Taiwan.
For the methods of presenting and identifying the roles in the glove puppet, one can tell the puppet’s identity, social status or personality through their appearance. The costumes worn by the puppets, the facial makeup painted on faces as well as the guan and mao worn on heads can be a references for the foil and assistance of the puppets on the stage and also promote puppeteers’ understanding and grasp of the roles and images when they play. Moreover, the audiences can quickly identify the background information of the puppets’ roles and figures at the first glance. Mao and guan worn on heads are “Toudai” that is specially called in Minnan Dialect (Southern Fujian Dialect). They are all headwear. There are two kinds of “Toudai” based on making techniques in the traditional glove puppet, namely Kui for stiff helmet and Jin for soft cap. At present, there are more than eighty fashionable styles, among which Jin for soft cap accounts about forty two types. Due to the various types and styles, there are strict requirements for wearing based on the role’s identity, personality and social status. Additionally, the patterns, forms and types of the roles should consistently match to conform to the original appearance of the puppets suitably.
This study discusses Jin for soft cap in the traditional glove puppet show from three aspects: first, the dissemination of Jin for soft cap in the traditional glove puppet; second, the craftsmanship of Jin for soft cap; third, the practical application of Jin for soft cap in the show.
There are differences in both use and production of Jin for soft cap due to different schools and artists. Therefore, the study tries to keep and then further improve its integrity to display the diversity of folk art.
7
SUN, JUNG-TSUNG, and 孫榮聰. "A study on “celluloid puppet heads” of glove puppetry in Taiwan during the Japanese colonial period." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/84pwjd.
Full textAbstract:
碩士<br>國立臺北大學<br>民俗藝術與文化資產研究所<br>104<br>Glove puppetry is a combination of literature, music, carving, painting, embroidery and traditional narrating and singing arts. It’s an important form of public entertainment in the early days and also childhood memory for many people. The head of a puppet is the most important of all parts. An exquisite and well-decorated puppet head can clearly tell audiences about the gender, personality and the age of the puppet. With proper clothes and accessories, it can even show the character’s social position and status. Therefore, puppeteers and audiences have always paid a lot of attention to puppet heads since long ago.
This study will focus on “celluloid puppet heads” which were developed and manufactured by a local company “Taichung-Wanli Company” in Taichung, Taiwan in the Japanese colonial times. Although “celluloid puppet heads” were molded, they still need to be assembled and painted by hand before they were sold to the market. Compared to those wood-carved heads made by other puppet makers in Quan-zhou, their unique features were different in many ways such as material、appearance、painting、production process and could easily catch audiences’ eyes. They were very popular on the stage for decades in Taiwan because they were waterproof, easy to acquire when urgent for they were locally made, and even more economical than those wood carved heads.
This study was divided into three parts：
Part 1：We tried to understand the history and art achievements of puppet head artists in Fujian area, China, especially those who in Quan-zhou, because they supplied the majority of glove puppetry parts and equipments during the last few years of the Qing dynasty and early Republic.
Part 2：By collecting pictures and historical data of Taichung-Wanli Company from the museums、collectors and other various sources, we would like to verify the information about material、models、appearance、sales、usages and production process of celluloid puppet heads.
Part 3：We reconstructed the production process of celluloid puppet heads by researching their appearance and features and identified the differences between celluloid puppet heads and wood carved heads from Quan-zhou. Starting from that, we would explore the beauty of the original artistic creation.
8
Liao, Pei-yu, and 廖珮妤. "Taiwanese Glove Puppetry Going on the International Stage: A Study of Liao Wen-Ho Puppet Theater." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/99636273790789256873.
Full textAbstract:
碩士<br>國立雲林科技大學<br>應用外語系碩士班<br>101<br>Previous research on Taiwanese glove puppetry has been extensively investigated under Taiwan government''s promotion of cultural and creative industries, but studies concerned with its overseas performances relatively remain unexplored. Accordingly, the present study investigates Liao Wen-Ho Glove Puppet Theater in terms of its origins, performance styles, and overseas performances by employing such methods as semi-structured interviews with the director Liao Wen-Ho and his son, the assistant Liao Qian-Shun, and the observation of the puppet performances given by Liao''s troupe.
From both the interviews and the performance observation, this study found that Director Liao has enthusiastically reformed the way traditional puppetry had displayed. He created the largest sizes of his puppetry settings and puppet dolls; in addition, he combined the traditional and innovative puppetry techniques, successfully attracting domestic and overseas audiences. Furthermore, he has frequently been invited to give puppet shows at temples, schools and cultural centers. He has also been invited to perform puppetry abroad on behalf of Taiwan for many times. Moreover, some differences exist between Mr. Liao''s domestic and overseas puppetry performances. In Taiwan, he usually constructs his plots that his sponsors expected, whereas his overseas puppetry story frequently presents Taiwanese customs and cultures. Although his puppet shows performed abroad are often simpler and easier than his domestic ones for foreign audiences to understand due to different cultural backgrounds, his puppet shows are all full of various accents and martial arts scenes. This study has provided an English description of Liao Wen-Ho Glove Puppet Theater in hopes that Taiwanese traditional puppetry culture is more accessible to foreigners than before.
9
Tsai, Hsu-Ching, and 蔡旭清. "Textile Conservation－Case studies of application of radiation in Chiang,Jia-Zon glove puppet clothing embroidery products." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/854j77.
Full textAbstract:
碩士<br>國立臺北藝術大學<br>建築與文化資產研究所<br>100<br>This paper gives a innovative scientific research and supplementary anthropological field study on the glove puppet clothing embroidery products, which aims at achieving a simpler and more efficient preservation and conservation of a very unique cultural heritage of puppet art.
Since Chiang, Jia-Zon glove puppets were made of extremely exquisite and precious historical textiles, non-destructive analysis methodologies are adopted for material characterization. We have developed an analytical system combined with multiple spectroscopic methods such as visible reflection, fluorescence, XRF, and FT-IR. Using these advanced testing machines, we are able to tell if the embroidery products that were used on the glove puppet clothing are organic or inorganic. These tested pairs include metallic material of embroidery threads, or the fiber; glasses or celluloid; organic colloid or inorganic material resin. In the past, to determine the nature of these material would usually be highly complex and tedious; however, here we will demonstrate a much simpler and efficient application of this analytical system.
In addition to adopting non-destructive analysis methodologies, a supplementary field research has been conducted due to the lacking of related embroidery making process. This field study includes field research.
Through the combination of both non-destructive testing of advanced lab technique and careful, detailed field research, scientific methodologies and anthropological study are brought together to create a more efficient identification of the material and hence better understanding and preservation of an unusually delicate embroidery material of Chiang, Jia-Zon glove puppets.
10
陳艾伶. "A Study of the Xiao Tianzhen Glove Puppet Troupe and its Association with the Local Art Education in Elementary School." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/16836039019755944390.
Full textAbstract:
碩士<br>國立新竹教育大學<br>人資處美勞教學碩士班<br>95<br>The purpose of the research is to explore the artistic value of the traditional glove puppet show in the realm of local art education, to inquire into the teaching method adopted by the instructor when proceeding the traditional performing art instruction, and also to discuss the establishment and operation of the Xiao Tianzhen Glove Puppet Troupe and its coordinative teaching in cooperation with the school teacher.
In this study, all the research data has been collected and analized through techniques of the qualitative study including the document analysis method, participant observation, semistructured interview and triangulation.
The findings of the research generalized by the researcher are listed bellowed:
1.The glove puppet show , now arranged mostly in realms of arts and humanities and social education, is not only the fulfillment of the synthesized art, but also the best curriculum of local art education, which is especially suitable for students in fourth and sixth grade.
2. The teaching method used by the school teacher in the traditional performing arts education is diverse , however , its effect is not clear.
3.With the systematic management and participation in education , the Xiao Tianzhen Glove Puppet Troupe plays a positive role in inheriting and preserving the heritage of the glove puppet show.
4. Being able to create the original script resulted from the tradition makes the performance of the Xiao Tianzhen Glove Puppet Troupe to be full of amusements and educational meanings.
5. By participating in the coordinative teaching , the members of the Xiao Tianzhen Glove Puppet Troupe are not only performers but also instructors.
6. The performance of the Xiao Tianzhen Glove Puppet Troupe is very popular and very helpful for students’ learning.
7. As a team of cooperation, the exchange of educational opinions between the school and the puppet troupe is unilateral.The motivation for the school teacher to search for the resources outside the school is apparently lacked. It is strongly suggested that the school teachers and the administrators should cooperate with each other.
In conclusion , as reference materials, all the findings of the research offer suggestions not merely for the school and the Xiao Tianzhen Glove Puppet Troupe,but also for the instructors and the educational authority as well as the subsequent researchers.
Books on the topic "Glove-puppet"
2
Beng, Tan Sooi, Tan Sooi Beng, and George Town World Heritage Incorporated, eds. Potehi, glove puppet theatre of Penang: An evolving heritage = Bingcheng bu dai xi : xiao bian zhong de wen hua yi chan. George Town World Heritage Incorporated, 2017.
Find full text
3
Jiqing, Guo, Dai Minghong, and Jiang Wuchang, eds. Zhang zhong qian kun: Gaoxiong bu dai xi chun qiu = The history of glove puppet theater in Kaohsiung. 2nd ed. Gaoxiong Shi li li shi bo wu guan, 2007.
Find full text
4
Parmiggiani, Paolo. Pupazzi: Glove puppets and marionettes in the Castello dei Burattini, Museo Giordano Ferrari in Parma. Edited by Galleria San Ludovico (Parma, Italy) and Castello dei burattini-Museo Giordano Ferrari. Grafiche Step editrice, 2015.
Find full textBook chapters on the topic "Glove-puppet"
1
Huang, Ssu-Hsin, Ming-Te Chi, and Tsai-Yen Li. "Physically-Based Virtual Glove Puppet." In Edutainment Technologies. Educational Games and Virtual Reality/Augmented Reality Applications. Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-23456-9_8.
Full text
2
Lin, Chih-Chung, Gee-Chin Hou, and Tsai-Yen Li. "Motion Generation for Glove Puppet Show with Procedural Animation." In Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering. Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-11577-6_31.
Full text
3
Popova, Anna V. "The Doll in George Sand’s Artistic System: Ethical and Aesthetic Potential." In Artificial Body in the World Intellectual and Artistic Culture. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0719-9-131-146.
Full textAbstract:
The article deals with the image of the doll and peculiarities of the opposition “living–lifeless” concerned with this image in the works of George Sand. In her autobiographical texts and memoirs the author reflects on the educational and gender modelling potential of a doll. At the same time, she contrasts a traditional doll with a mechanical one emphasizing the contrast of natural and artificial in the given opposition. In this case the criterion is the state of being programmed, the predictability of the automaton that excludes the chance of game improvisation. The doll “comes to life” only when the human’s creative energy fills the spiritual void of its shell, imparting some individual features to it. The study finds that an obvious example of such unity is a puppet. The doll as a theatrical attribute appears in the novel of George Sand “L’Homme de Neige” (1859) and also in her article “Le Théâtre des marionnettes de Nohant” (1876). In the novel one of the Italian puppet theatre characters named Stenterello, the Florentine analogue of Pulcinella, creates significant opportunities for self-identification for the main character who is striving to unravel the mystery of his origin. In the article on the puppet theatre the opposition “natural–artificial” acquires aesthetic sense, and it is interpreted in the course of the correlation of truth and fiction in art. Rough and primitive glove puppets — burattini — come to life in the puppeteer’s hands, acquiring individual features, while automatons, though skilfully imitating living beings, are lifeless because of their mechanical autonomy. The symbiosis of a person and a doll in the works of George Sand becomes a metaphor for creative work that brings into existence artistic images which represent an inseparable unity of a creator and his creation.
4
Arnott, Peter D. "Puppetry." In Folklore, Cultural Performances, And Popular Entertainments. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195069198.003.0035.
Full textAbstract:
Abstract The art of designing, constructing, and operating puppets and marionettes, usually in theatrical Performance. A puppet (from Latin pupa, “doll”) is an articulated figure controlled by external means. Most puppets represent human or animal forms, though they may also give movement to normally in animate objects or abstract shapes. While puppets can be life-size or larger, most are considerably smaller than their operators. Puppets are classified according to their means of control. Hand or glove puppets, of the familiar Punch-and-Judy type, are controlled directly by the puppeteer’s hand inside a cloth sleeve that forms the figure’s body. Rod puppets are controlled from below by slender rods. Shadow puppets are two dimensional cutout figures, also controlled by rods, that are held against a backlit screen to project black-and-white or tinted shadows. Marionettes are controlled from above by strings. The name (“little Mary”) is believed to have been derived from the practice of using puppets in medieval church plays, though this may be merely fanciful. Various combinations of control methods are also possible.
Conference papers on the topic "Glove-puppet"
1
Jwu-Sheng Hu, Jyun-Ji Wang, and Guan-Qun Sun. "The glove puppet robot: X-puppet." In 2008 IEEE/RSJ International Conference on Intelligent Robots and Systems. IEEE, 2008. http://dx.doi.org/10.1109/iros.2008.4651190.
Full text
2
Hu, Jwu-Sheng, Jyun-Ji Wang, and Guan-Cyun Sun. "Self-balancing control and manipulation of a glove puppet robot on a two-wheel mobile platform." In 2009 IEEE/RSJ International Conference on Intelligent Robots and Systems (IROS 2009). IEEE, 2009. http://dx.doi.org/10.1109/iros.2009.5354197.
Full text