Relevant bibliographies by topics / Puppet theater

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Academic literature on the topic 'Puppet theater'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Puppet theater"

1

Waszkiel, Halina. "The Puppet Theatre in Poland." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 164–79. http://dx.doi.org/10.34064/khnum1-51.09.

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Background, problems and innovations of the study. The modern Puppet Theater in Poland is a phenomenon that is very difficult for definition and it opposes its own identification itself. Problems here start at the stage of fundamental definitions already. In English, the case is simpler: “doll” means a doll, a toy, and “puppet” is a theatrical puppet, as well as in French functions “poupée” and “marionette” respectively. In Polish, one word serves both semantic concepts, and it is the reason that most identify the theater of puppets with theater for children, that is a big mistake. Wanting to get out of this hassle, some theaters have thrown out their puppet signage by skipping their own names. Changes in names were intended only to convey information to viewers that in these theaters do not always operate with puppets and not always for the children’s audience. In view of the use of the word “animation” in Polish, that is, “vitalization”, and also the “animator”, that is, “actor who is animating the puppet”, the term “animant” is suggested, which logically, in our opinion, is used unlike from the word “puppet”. Every subject that is animated by animator can be called an animant, starting with classical puppets (glove puppets, cane puppets, excretory puppets, silhouette puppets, tantamarees, etc.) to various plastic shapes (animals, images of fantastic creatures or unrelated to any known), any finished products (such as chairs, umbrellas, cups), as well as immaterial, which are animated in the course of action directed by the actor, either visible to viewers or hidden. In short, the animator animates the animant. If the phenomenon of vitalization does not come, that is, the act of giving “the animant” the illusion of life does not occur, then objects on the stage remain only the requisite or elements of scenography. Synopsis of the main material of the study. In the past, puppet performances, whether fair or vernacular, were seen by everyone who wanted, regardless of age. At the turn of the XIX–XX centuries, the puppet theater got divided into two separate areas – theater for adults and the one for children. After the war, the professional puppet theater for adults became a branch of the puppet theater for children. In general, little has changed so far. The only puppet theater that plays exclusively for adults is “Theater – the Impossible Union”, under the direction of Mark Khodachinsky. In the Polish puppet theater the literary model still dominates, that is, the principle of starting to work on the performance from the choice of drama. There is no such literary work, old or modern, which could not be adapted for the puppet theater. The only important thing is how and why to do it, what significance carries the use of animants, and also, whether the applying of animation does the audience mislead, as it happens when under the name of the puppet theater at the festival shows performances that have nothing in common with puppets / animations. What special the puppet theater has to offer the adult audience? The possibilities are enormous, and in the historical perspective may be many significant achievements, but this does not mean that the masterpieces are born on the stones. The daily offer of theaters varies, and in reality the puppet theaters repertoire for adults is quite modest. The metaphorical potential of puppets equally well justifies themselves, both in the classics and in modern drama. The animants perfectly show themselves in a poetry theater, fairy-tale, conventional and surrealistic. The puppet theater has an exceptional ability to embody inhuman creatures. These can be figures of deities, angels, devils, spirits, envy, death. At the puppet scenes, also animals act; come alive ordinary household items – chairs, umbrellas, fruits and vegetables, whose animation gives not only an interesting comic effect or grotesque, but also demonstrates another, more empathic view of the whole world around us. In the theater of dolls there is no limit to the imagination of creators, because literally everything can became an animant. You need only puppeteers. The puppet theater in Poland, for both children and adults, has strong organizational foundations. There are about 30 institutional theaters (city or voivodship), as well as an increasing number of “independent theaters”. The POLUNIMA, that is, the Polish branch of the UNIMA International Union of Puppets, operates. The valuable, bilingual (Polish–English) quarterly magazine “Puppet Theater” is being issued. The number of puppet festivals is increasing rapidly, and three of them are devoted to the adult puppet theater: “Puppet is also a human” in Warsaw, “Materia Prima” in Krakow, “Metamorphoses of Puppets” in Bialystok. There is no shortage of good dramas for both adults and children (thanks to the periodical “New Art for Children and Youth” published by the Center for Children’s Arts in Poznan). Conclusions. One of the main problems is the lack of vocational education in the field of the scenography of the puppet theater. The next aspect – creative and now else financial – the puppet show is more difficult, in general more expensive and more time-consuming in preparation than the performance in the drama theater. Actor-puppeteer also gets a task those three times heavier: to play live (as an actor in a drama theater), while playing a puppet and with a puppet. Consequently, the narrative of dramatic story on the stage is triple: the actor in relation to the viewer, the puppet in relation to the viewer, the actor in relation to the puppet. The director also works double – both the actor and the puppet should be led. It is necessary to observe the effect that arises from the actions of both stage partners. So the second threat seems to be absurd, but, alas, it is very real – the escape of puppeteers from puppets. The art of the puppet theater requires hard work, and by its nature, it is more chamber. This art is important for gourmets, poets, admirers of animation skills, as well as the searchers for new artistic ways in the theater, in wide understanding. Fortunately, there are some real fans of the puppet theater, and their admiration for the miracle of animation is contagious.
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Đerković, Ksenija S. "Pozorište lutaka u Kragujevcu (1951-1952)." Šumadijski anali 19, no. 13 (2023): 183–93. http://dx.doi.org/10.46793/sanali19.13.183c.

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Puppetry in Serbia dates back to the early 20th century, in the tradition of traveling puppeteers and entertainers at fairs. Puppet theaters in Serbia as theater institutions were established only after World War II when they consisted of professional ensembles with a permanent repertoire and a regular theater audience. The work explores puppetry as an art form on all levels, requiring a unique form, with the aim of uncovering the chronology of the establishment of Puppet Theaters, with a special focus on Kragujevac, which was among the early pioneers of puppetry. Throughout history and to this day, whether in the world or in Serbia, puppet shows are accessible to all ages, just like any other form of theater art. There's nothing more beautiful than awakening the child within oneself.
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Rei, Leino. "Tossed on the seas of Visual Theatre: challenges to Puppetry’s survival as an independent discipline." Móin-Móin - Revista de Estudos sobre Teatro de Formas Animadas 2, no. 25 (December 18, 2021): 240–84. http://dx.doi.org/10.5965/2595034702252021240.

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The goal was to understand the current situation and give an overview of Baltic and Nordic countries' puppet theater and puppet theater training traditions and whether and how the puppeteer's profile has changed recently. To get an idea of the trends in this area, the common ground of the different countries, I interviewed theatre makers from Finland, Sweden, Norway, Latvia, Lithuania, and Estonia. The title of this research is "Tossed on the seas of visual theatre: challenges to puppetry’s survival as an independent discipline."To have a wider look at the puppetry, I also did two additional interviews. One of them with Marek Waszkiel - "Puppetry's challenges in the new visual theatre paradigm" and another one with Russian director Yana Tumina - "The puppeteer in the 21st century".
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Ciofu, Anca. "Beautiful, Truth, Imaginary in the art of puppet theater - THE INSECT CIRCUS by String Theater." Theatrical Colloquia 11, no. 2 (November 26, 2021): 180–87. http://dx.doi.org/10.2478/tco-2021-0029.

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Abstract One of the shows invited to attend the 14th Edition of the Iaşi International Theater Festival for Young Audiences (FITPTI), outstanding performance with classic short string puppetry, was performed at the Small Hall of the Luceafărul Theater by String Theater from Great Britain. The London Company relies on the charm of the long strings animating techniques for puppets, maneuvered (manipulated) from a height. The Company started the activity in London, 2011, the founders are Soledad Zarate and Stan Middleton, descendants of several generations of artists specializing in the management and promotion of this type of theater, with Elizabethan roots and fresh puppet infusions. The Insect Circus is a gem show, a demonstration of mastery in the art of puppet handling. A performance that overturns prejudices related to this type of theater, but also a sample of good practice, an example of how the tenderness and clumsiness of these irresistible actors on strings can be enhanced.
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Smoljanović, Goran. "Dugovječne predstave u Kazalištu lutaka Zadar." Magistra Iadertina 14, no. 1 (May 20, 2020): 9–18. http://dx.doi.org/10.15291/magistra.2955.

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The author applies the aesthetics of reception (Hans Robert Jauss), which refers to literary texts, to puppet shows. This paper examines performances from Zadar Puppet Theater, which have long been held in repertoire. The plays Little Red Riding Hood (1952) and How Long is a Tale (1996) were selected. Little Red Riding Hood was produced at a time when puppet theater was an imitation of acting theater, and the play How Long is a Tale arouse during the era of postmodern puppetry when the screen disappeared and the puppet could be created from any material.
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Fesenko, S. Ya. "Features of the education of the actor-puppeteer." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 192–208. http://dx.doi.org/10.34064/khnum1-51.11.

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Background, objectives of the research. The article reveals the method of improving the professional skills of the actor of the puppet theater, aimed at the organic connection of the puppet technique with the actor’s internal psycho-techniques. The peculiarity of creating a stage image in the puppet theater is that the functions of the puppeteer actor in the creating of a role “on the inside line” coincide with the functions of the drama theatre actor. However, the process of making the stage character in the puppet show is built according to other laws: “vitalizing” through the puppet – the main instrument of the puppeteer. Based on the methods of teaching professional subjects in high schools of puppeteers of Kiev and St.-Petersburg, the author develops and complements the teaching methods of the puppet theater actor’s skills, concentrating on the puppet-master’s technique and the process of gradually “reviving” a puppet by virtue of an actor training. Results of the study. Mastering professional skills and abilities takes place based on of working with puppets of various systems in training exercises and sketches, which gradually fills with elements of acting; continues and improves on the stage of the educational theater and ends with the creation of a stage image with a puppet in a diploma performance. The training provides such an external technique, with which the actor-puppeteer correctly performs all kinds of puppet’s moves. For this purpose, it is necessary to learn the possibilities of the puppet in the process of physical incarnation of a role, it is necessary to understand the laws of its convincing plastic living. This can be achieved through training, resulting in skills that will become semi-automatic. The wonder of the puppetry lies in the fact that the viewer, even in the “open manner”, does not notice the puppeteer and directs all his attention to the puppet, watching her “process of living”. However, the skills and abilities themselves will not become expressive means until they are will be connected with the internal psychology of the actor. The purpose of educating the puppet theater actor is to teach him the organic, natural playing with a puppet. The training involves visual control over the puppet, coordination of the self-own body with the puppet’s body and gradual introduction to the training process the elements of actor psychophysics. Because an actor creates an inner image, and the puppet becomes an external plastic expression, a manifestation of this image. The puppet mastering consists in the fact, that the puppet in the hands of the puppeteer reproduces meaningfully and consistently a series of sculptural finished poses, characteristic for a particular role. The construction of sculptural mise-en-scenes and plastic dialogues requires the possession of skills of “microscopic” hand plastics. “Micro-plastics” convinces viewers in presence of an internal monologue and permanent “life” a puppet on a stage. Alternation of movement and expressive postures is the component of the stage action of a puppet. Gradually, through regular training, students in practice study the technical possibilities of the “body” of the puppet – its torso, head, hands, “legs”, beginning to use them freely in stage action. It is advisable to start the development of puppeteer’ technique from the cane puppet, because its construction is closer to the “human”. The observation of the plasticity of the human body takes place in rhythmic lessons. Imaginative thinking of a student and his fantasy help to acquire the ability to analyze, control, choose moves of a puppet, and mutually co-ordinate them in space. Teaching the profession of puppet actor begins with the lessons aimed at the development of plastics of hands and fingers, their professional position. Work of hands is the first and necessary link in the creativity of the actors of the puppet theater. The degree of their training depends on accuracy of working with a puppet. Therefore, it is so important, before giving the student a puppet, to draw his attention to the constant training of dexterity, ductility and expressiveness of hands. In exactly owning gymnastics of the puppet actor’s hands, performing different imaginative and musical-plastic exercises and etudes, a student acquires the vocational specificities and develops his own internal abilities. Such a technique is necessary for the gradual transition from the technique of movement to the ability to use independently this technique for the embodiment of creative ideas in etudes. Creation of etudes is a continuation of training exercises and based on the inventing of the proposed circumstances requiring certain effective actions in these conditions. Motivation for action arises from familiar, understandable, vital for the student of the proposed circumstances. The student gradually, from the rehearsal to the rehearsal, clarifies the plot of the sketch, enriches and clears the proposed circumstances, based on which the storyline unfolds, that forces him to select and fixe the behavior of the actors. Etudes develop a student’s fantasy; they promote the assimilation of the laws of stage action. In etudes, students make their first steps in scenic communication with a partner – a puppet. In etudes, the student first encounters the need to create a scenic character and his behavior logic in the proposed circumstances. All stages of creating a stage etude a student takes on individual classes with a teacher. Conclusions. The process of forming the future actor-puppeteer has a complex character including as well as the mastering the techniques of driving puppets of different systems, from traditional to modern, and the actor’s mastership – the art of stage – reincarnation. This process continues on the stage of the training theater, where the student receives his first scenic practice – in the main and occasional roles, in mass scenes, in partner interaction. The image created in the diploma performance must carry all the signs of the actor-puppeteer profession: temperament, humor, actor mastership and the perfect possession of puppet technique, in any system of theatrical dolls. The Higher Theater Schools of Ukraine basing on the traditions and the latest achievements of stage art, forms the actors-puppeteers who professionally own all of major puppet systems and have the necessary skills to create a scenic image with a puppet. Such an actor will be able to enter in a creative team of a professional theater and continue searching for new expressive possibilities of a puppet at the theatrical stage.
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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.

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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.
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Erdener, Jasmine. "Prefigurative Politics at Bread and Puppet Theater." Cultural Politics 20, no. 1 (March 1, 2024): 92–111. http://dx.doi.org/10.1215/17432197-10969240.

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Abstract Bread and Puppet (B&P) Theater is one of the oldest, most influential, and well-known puppet theaters both in the United States and abroad and has been at the forefront of puppetry, performance, and political protest for more than half a century. B&P also functions as a site of tension in prefigurative political theory, between creative world building and alternative decision-making structures. B&P fosters a powerful lived experience of prefigurative politics. The political process of envisioning alternative realities took place through performance, puppets, and the shifting sense of temporality in an isolated location. At the same time, B&P operates in a state of flux, at the center of a constant stream of apprentices, volunteers, and audience members. They rely on hierarchical decision-making to facilitate order, which challenges the prefigurative ideal of a democratic community. B&P models a mediated form of prefigurative politics in which a hierarchical governance structure and creative world building exist in tension with one another. The theater has worked within this tension to survive and even flourish. B&P complicates prefigurative politics in social movement theory and practice, as the hierarchy helps preserve some sense of order but conflicts with the more egalitarian vision of the world represented in their performances. B&P's intervention in prefigurative politics offers lessons to social movements and artistic practices in the contemporary resurgence of prefigurative politics.
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Vigato, Teodora. "Scenografija Kazališta lutaka u Zadru." Magistra Iadertina 5, no. 1. (April 9, 2018): 65–88. http://dx.doi.org/10.15291/magistra.1478.

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The author discusses the development of scenography and puppet design in Zadar Puppet Theatre in the context of Croatian puppeteering in the second half of the 20th century. Reconstruction of visual poetics starts with the analysis of first scenographies in 1950s and 1960s and with the analysis of initial attempts to regard scenography as an equal component of scenic expression along with animation, particularly with speech. The paper also includes some less known information about the greatest Croatian puppet theater scenography master, Mojmir Mihatov, who had his own unique way of designing puppet theater scene in accordance with different perception of scenic art.
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Stefanova, Kalina. "When drama theatre meets puppetry: How a unique symbiosis brought about distinctive changes in Bulgaria’s theatre." Maska 31, no. 181 (December 1, 2016): 120–28. http://dx.doi.org/10.1386/maska.31.181-182.120_1.

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The text outlines the unique symbiosis between drama and puppetry that started taking shape on Bulgarian theatre stages in the mid-1990s and gradually became a distinctive new theatre reality that changed the face of Bulgarian theatre. It was created by Alexander Morfov, CREDO Theatre and Stefan Moskov, along with a number of actors – all of them puppet theatre graduates – in their collaboration with the Bulgarian National (and other drama) Theater(s).
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Dissertations / Theses on the topic "Puppet theater"

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Laura, Joseph. "Rachel's Madcap Theater." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1929.

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This paper will cover the making of my thesis film Rachel’s Madcap Theater. I will break down all of the interdisciplinary aspects and collaborations with other artists that formed the final film: screenwriting, production design, directing, cinematography, sound, music, and special effects. For each of these categories, when appropriate, I will compare and contrast the changes made during the main stages of filmmaking: pre-production (all decisions made before shooting begins), production (all decisions made while shooting the movie), and post-production (all decisions made after shooting ends). I will then provide self-analysis of my process in order to judge both the ultimate success of my thesis film (did I make the film that I originally intended to make?) and the strengths and weaknesses of my personal abilities.
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Doe, Connor Bartlett. "Puppet Theater in the German-Speaking World." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/88.

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This work begins with a brief history of puppet theater in Germany. A look at important social aspects, pertinent philosophical discussions and the significance of puppet theater in the German literary tradition follow. The final chapter looks at Peter Schumann, a German puppeteer and artist who lives in America. In Germanistik, German puppet theater deserves a devoted place in the field of legitimate study in terms of its history, content and influence. Puppet theater's historical development in Germany represents the larger evolution of Germany. From ancient times up to the present day, this artistic form of representation has enjoyed an audience in the German-speaking regions. The evolution of puppet theater parallels Germany's quest for legitimacy as a nation and desire for cultural unification. A study of puppet theater thematizes the issue of popular cultural history. For most of its existence in Germany, puppet theater served as popular entertainment. The conception of folk art and folklore - which includes puppet theater - by the German Romantics led them to believe that folk artists possessed a mysterious authenticity inaccessible to Classicists and their narrowly-defined world of high art. Much German literature and thought from the 19th century onward shows a fondness for the Volk aspect of puppet theater. Puppet theater and its reception in German Romanticism helped to shape literary and philosophical themes that would lead to further recognition of puppetry as an art form and an integral aspect of German culture. In the 20th century, puppet theater took on bold new forms. Adapting to film, television, academia and the avant-garde, respected proponents of puppet theater brought the art form into the light of day. No longer did it merely consist of vulgar or mildly artistic street performances or as a vehicle for Romantic-era nostalgia. German puppet theater in the 20th century moved into the realm of mass culture with film and, more effectively, with television. It also gained footing in academia, eventually becoming a fully-recognized field of study as well as a performance medium with infinite possibilities. One can only hazard a guess as to where puppet theater will go in the future. The ability of the art form to uncannily reflect the human condition is well known. How the human condition will change and how the performers of puppet theater will respond remains to be seen.
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Koerner, Ethan. "Voicing an other utilizing puppetry and pageantry for community-based spectacle in America /." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1219701727.

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Stoessner, Jennifer Kathleen. "Infecting the Inanimate: Puppet Theatre Responds to Aids." The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1363614334.

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Goncarovs, Sarah Beth. "[Re]animate a puppet theater workshop for Silver Spring /." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3306.

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Thesis (M. Arch.) -- University of Maryland, College Park, 2005.
Thesis research directed by: School of Architecture, Planning and Preservation Architecture. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Kline, Daniel. "Bringing Pocci's "Hansel and Gretel" to America a study and translation of a puppet show /." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1211208363.

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Tribble, Keith Owen. "European symbolist theater : conventions and innovations /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/6647.

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Stoessner, Jennifer Kathleen. "Building American Puppetry on the Jim Henson Foundation." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1211816560.

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Deniger, Marcy M. (Marcy Marble). "An Ethnographic Study of the Use of Puppetry with a Children's Group." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc331542/.

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This study utilized an ethnographic methodology to examine and describe the various aspects and processes occurring in a children's group as the members created their own puppets and accompanying puppet plays. Individual and interactive behavior patterns were isolated and analyzed as a means of gaining an in depth understanding of the puppetry process. The puppetry process, in turn, was viewed in terms of information it provided regarding the individual members and the group process. The facilitative and non-facilitative aspects of the procedure were delineated. The adult leader met with a group of six boys, in grades four and five, for 12 one-hour sessions in which they made puppets and then created puppet plays around issues that they had articulated as problems. The group sessions were videotaped and transcribed. The transcriptions were coded in an effort to extensively analyze the puppetry process and the group process, and the ways in which the two processes interacted. An independent observer/rater was utilized in order to provide some validity for the researcher's reported results. The puppet-making task appeared to offer an opportunity for individuals to begin to come together in a common, but individual task. Characteristic styles and individual personality dynamics were evidenced. General response to the task was enthusiastic, with varying degrees of satisfaction expressed regarding their finished products. The play-creating and performing process met with less success than the puppet-making. While the group members appeared to be generally amenable to contributing ideas for the puppet plays, the process met with far more resistance in the cooperative task of putting their ideas into a finished product. The group discussion and interaction that occurred around these tasks provided a vehicle by which to view levels of interpersonal skills and the group's overall stage of development. The puppets the children created appeared to act as metaphors in expressing the group members' views of themselves and in enabling the symbolic representation of some of their central concerns. The plays they created paralleled the process that actually took place in the group. The subject matter and content of the puppets and plays provided information and evidence as to how each member approached and solved problems. The discrepancies in the ways in which the researcher and the independent observer/rater viewed the positive and negative social/emotional interactions of the group members, coupled with the small number of subjects included in this study preclude generalizing to other groups of children at this time. Further studies, with additional groups of children, utilizing parametric statistics are called for before any such generalizations can be made.
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Lessing, Petronella. "'n Ondersoek na die integrasie en wisselwerking van die betekenisdraende elemente in poppeteater." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2453.

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Thesis (MDram (Drama))--University of Stellenbosch, 2009.
AFRIKAANSE OPSOMMING: In hierdie navorsing word gepoog om die betekenisdraende elemente van poppeteater, naamlik beweging, klank en ontwerp van naderby te ondersoek om vas te stel in watter mate al drie elemente onmisbaar is al dan nie en hoe hierdie elemente op mekaar inspeel. Die semiotiek van beide teater en poppeteater word as agtergrond en teoretiese basis vir die ondersoek bespreek. Binne hierdie elemente word verskillende kernaspekte ondersoek waaronder distorsie, oordrywing en die dubbele aard van die toneelpop as lewelose objek met ‘n verbeelde lewe. In hierdie deel van die studie word daar ook na verskillende soorte tekens gekyk, naamlik die indeks, die simbool en die ikoon. Daar word bevind dat hierdie tekens saam ‘n dubbele verskuiwing in doel kan ondergaan naamlik van teken na verwysde, en van verwysde na nuwe tekens. Hierdie verskuiwings vind in die teater, sowel as poppeteater plaas. Ontwerp, beweging en klank word afsonderlik bespreek om die aard, rol en moontlike dominansie van elkeen te bepaal. Poppeteater maak staat op die gehoor se verbeelding en gewilligheid om die toneelpop ‘n verbeelde vorm van lewe te gee. Díe siening van die toneelpop, as beide lewelose voorwerp en ‘n verbeelde vorm van lewe, staan bekend as dubbele visie. Dubbele visie kan egter nie alleen binne die poppeteater funksioneer nie, en die verskillende elemente moet saam met die gehoor se dubbele visie ingespan word om die boodskap van die poppespel oor te dra. Beweging verlewendig die toneelpop deurdat dit die illusie van lewe en die sogenaamde dubbele visie ondersteun. Verskillende toneelpoppe word verskillend beheer en geartikuleer, elk met sy eie betekenisse wat hy deur middel van beweging oordra. Daar is bevind dat klank die enigste element is waarmee weggedoen kan word in ‘n toneelpopproduksie. Terselfdertyd kan dit ook nie afsonderlik van beweging en ontwerp funksioneer nie. Wanneer klank wel gebruik word, funksioneer die hoofveranderlike kenmerke van klank soos toonhoogte, volume, tempo, infleksie, uitspraak en ritme in die oordraging van die boodskap. Die navorsing toon dat toneelpoppe nie gebonde aan realiteit is nie, en as gevolg hiervan kan die ontwerper die toneelpop maak sonder dat dit realisties hoef te wees. Ontwerp as ‘n element bepaal ook die kwaliteit en kwantiteit van toneelpoppe, sowel as die aanwending van ander ontwerp-elemente soos kleur, tekstuur, materiaal en die grootte van die toneelpop. Poppeteater is nooit ’n blote nabootsing van ’n mens of dier nie. Poppeteater kan daarom in nabootsende en konseptuele poppeteater verdeel word. Verwringing kom in beide nabootsende en konseptuele poppeteatervorme voor, hoewel tot ‘n mindere mate in nabootsende poppeteater. In konseptuele poppeteater word daar op die gehoor gesteun om die tekens wat dit ontvang korrek te interpreteer. Die betekenisdraende elemente werk saam om die boodskap suksesvol oor te dra. Klank en beweging werk saam om karakterisering te skep; so ook klank en ontwerp. Elemente kan wel afwisselend gebruik word. Die samewerking tussen beweging en ontwerp lei tot uitvoerbare beweging. Alhoewel daar met klank as ‘n element weggedoen kan word, is dit dikwels nie ideaal nie.
ENGLISH ABSTRACT: The aim of this study is to closely examine the meaning-bearing elements of puppet theatre, namely movement, sound and design to determine to what extent all three is indispensable to the puppet theatre or not, and how elements work together. The semiotics of both theatre and puppet theatre is discussed as a background and a theoretical basis for the study. Within these elements different key elements are examined, such as distortion, over-exaggeration and the double nature of the puppet as a lifeless object with an imagined life. In this part of the study different types of signs, namely the index, symbol and icon are looked at. It is found that these signs can undergo a double shift in purpose, namely from signs to referred and from referred back to signs. These shifts occur in both theatre and puppet theatre. Design, movement and sound are separately discussed to determine the nature, role and possible domination of each. Puppet theatre relies on the audience’s imagination and willingness to give the puppet an imagined form of life. Seeing the puppet as both a lifeless object and an imagined form of life is known as double vision. Double vision cannot function alone within the puppet theatre and the different elements have to work with the audience’s double vision to convey the message of the performance. Movement enlivens the puppet by supporting its illusion of life and so-called double vision. Different puppets are differently manipulated and articulated, each with its own meaning, conveyed by the movement. It is found that sound is the only element that can be disregarded in a puppetry production. At the same time it cannot function separately from design and movement. When sound is used, the main variables of sound like pitch, volume, speed, inflection, pronunciation and rhythm functions in conveying the message of the production. The research shows that puppets are not bound to reality and thus the designer can make the puppet without it having to be realistic. Design as an element also determines the quality and quantity of the puppets, as well as other design elements such as colour, texture, material and the size of the puppet. Puppetry is never a mere imitation of a human or an animal. Puppetry can therefore be divided into imitative and conceptual puppetry. Distortion is seen in both imitative and conceptual puppetry, although less so in imitative puppetry. In conceptual puppetry the audience is relied upon to interpret the signs that it receives correctly. The meaning-bearing elements work together to convey the message successfully. Sound and movement work together to create characterisation, as does sound and design. Elements can also be used alternatively. The co-operation between movement and design leads to practicable movement. Although sound as an element can be done away with, it is often not ideal.
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Books on the topic "Puppet theater"

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Philippe, Foulquié, Lo Monaco Gérard, and Centre national des marionnettes (France), eds. Les Théâtres de marionnettes en France: Les compagnies membres de Centre national des marionnettes. Lyon: La Manufacture, 1985.

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Vella, Maeve. Theatre of the impossible: Puppet theatre in Australia. Roseville, N.S.W: Craftsman House, 1989.

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Lin, Paul. Asian theatre puppets: Creativity, culture and craftsmanship. London: Thames & Hudson, 2009.

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Robson, Denny. Shadow theater. New York: Gloucester Press, 1991.

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McPharlin, Paul. A repertory of marionette plays. Lewiston, N.Y: Edwin Mellen Press, 1997.

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Balardim, Paulo. Relações de vida e morte no teatro de animação. Porto Alegre, Brazil: FUMPROARTE, Prefeitura de Porto Alegre, Secretaria Municipal da Cultura, 2004.

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McPharlin, Paul. A repertory of marionette plays. Lewiston, N.Y: Edwin Mellen Press, 2005.

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Didier, Plassard, ed. Les mains de lumière: Anthologie des écrits sur l'art de la marionnette. Charleville-Mézières: Institut international de la marionnette, 1996.

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Joss, Markus. Theater der Dinge: Puppen-, Figuren- und Objekttheater. Berlin: Verlag Theater der Zeit, 2016.

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Secci, Sergio. Il teatro dei sogni materializzati: Storia e mito del Bread and Puppet theatre. Firenze: La casa Usher, 2010.

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Book chapters on the topic "Puppet theater"

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Bell, John. "Beyond the Cold War: Bread and Puppet Theater at the End of the Century." In American Puppet Modernism, 189–218. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230613768_11.

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Hsieh, Hsiu-Ching Laura, and Tsu-Chi Shen. "Studying the Usability of the Yunlin Puppet Theater Website." In Culture and Computing, 137–49. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-61147-6_10.

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Portnoy, Eddy. "ACT 8. Modicut: The Yiddish Puppet Theater of Yosl Cutler and Zuni Maud." In New York's Yiddish Theater, edited by Edna Nahshon, 222–37. New York Chichester, West Sussex: Columbia University Press, 2016. http://dx.doi.org/10.7312/nahs17670-013.

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Adachi, Takayuki, Masafumi Goseki, Hiroshi Mizoguchi, Miki Namatame, Fusako Kusunoki, Ryohei Egusa, and Shigenori Inagaki. "Puppet Theater System for Normal-Hearing and Hearing-Impaired People." In Lecture Notes in Computer Science, 461–64. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-34292-9_35.

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Egusa, Ryohei, Kumiko Wada, Takayuki Adachi, Masafumi Goseki, Miki Namatame, Fusako Kusunoki, Hiroshi Mizoguchi, and Shigenori Inagaki. "Evaluation of the Dialogue Information Function of Interactive Puppet Theater: A Puppet-Show System for Deaf Children." In Lecture Notes in Computer Science, 536–39. Cham: Springer International Publishing, 2013. http://dx.doi.org/10.1007/978-3-319-03161-3_47.

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Pacchioni, Federico. "Poetry and Politics of the Emilian Puppet: Bertoluccian Memories." In The Image of the Puppet in Italian Theater, Literature and Film, 83–92. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-98668-1_9.

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Pacchioni, Federico. "The Remediation of the Puppet: Theater of Animation and Early Cinema." In The Image of the Puppet in Italian Theater, Literature and Film, 19–32. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-98668-1_3.

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Pacchioni, Federico. "The Pupo and the Theater of Life: Pasolini’s Dream." In The Image of the Puppet in Italian Theater, Literature and Film, 71–82. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-98668-1_8.

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Pacchioni, Federico. "Yearning for Vitality: The Italian Avant-Garde and the Puppet." In The Image of the Puppet in Italian Theater, Literature and Film, 43–52. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-98668-1_5.

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Pacchioni, Federico. "The Pupo and the Theater of History: A Rossellinian Parenthesis." In The Image of the Puppet in Italian Theater, Literature and Film, 65–70. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-98668-1_7.

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Conference papers on the topic "Puppet theater"

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Ayala, Susana. "Becoming the Puppeteer: Reflections on Global Language and Culture by Puppetry Students in Yogyakarta, Indonesia." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.4-6.

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Puppet theater on the island of Java is an ancient art which has maintained some of its characteristics considered traditional, but has also been transforming innovations such as the wayang with hip-hop music among other popular expressions. The art of puppetry has also been institutionalized and is itself a degree program at the National Institute of Arts of Indonesia. In this paper, I show the outcomes of my research among students and shadow puppet art teachers in Java, Indonesia. There are two special characteristics in training puppeteers: The main use of Jawanese language and the development of communities of practice as ways of working in the teaching and learning process. As such, these contexts motivate students to be constantly reflecting on the Javanese language and culture. I note the process and the reflections of the participants on the Javanese language shift, and the uses of language in puppet performances which consider the reception of young Javanese. To analyze the data, I draw from fieldwork and interviews, I use the theoretical concepts of discursive genres and dialogism proposed by Bakhtin and I propose that the art of puppetry is a social field that encourages vitality and linguistic diversity on the island of Java.
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Tomo, Tito Pradhono, Guillermo Enriquez, and Shuji Hashimoto. "Indonesian puppet theater robot with gamelan music emotion recognition." In 2015 IEEE International Conference on Robotics and Biomimetics (ROBIO). IEEE, 2015. http://dx.doi.org/10.1109/robio.2015.7418931.

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Maltseva, E. I., S. D. Nikolenko, S. A. Sazonova, and A. A. Venevitin. "RESULTS OF THE TECHNICAL MONITORING OF THE PUPPET THEATER." In Аспекты моделирования систем и процессов. Воронеж: Воронежский государственный лесотехнический университет им. Г.Ф. Морозова, 2022. http://dx.doi.org/10.58168/amsp2022_204-213.

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Ryohei, Egusa, Kusunoki Fusako, Wada Kumiko, Mizoguchi Hiroshi, Namatame Miki, and Inagaki Shigenori. "Evaluation of the puppet theater based on inclusive design method." In the 11th International Conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2307096.2307129.

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Ryohei, Egusa, Wada Kumiko, Adachi Takayuki, Goseki Masafumi, Namatame Miki, Kusunoki Fusako, Mizoguchi Hiroshi, and Inagaki Shigenori. "Evaluation of interactive puppet theater based on inclusive design methods." In IDC '13: Interaction Design and Children 2013. New York, NY, USA: ACM, 2013. http://dx.doi.org/10.1145/2485760.2485821.

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Mukai, Hibiki. "An Interactive and Digital Puppeteering Interface for new musical expression (IDPI)." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.115.

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Puppetry is the oldest form of the virtual reality and has a strong tradition as a theatrical art. The aim of this research project is to create digital puppeteering system which translates gestural acts into live and expressive control of virtual 3D models including in real-time 3D sound. I will devise a model of practice that extends our understanding and notion of the digital puppet. It seeks to establish new practical and conceptual relations between the puppet and new technologies in the framework of puppet theatre. The practical aim is to focus on the special spirit of animated 3D models and silhouettes and to contribute to cultural preservation and fixing of the tradition(s) of puppet theatre. This project will explore the potential of puppetry as a musical expressive medium by new media, including the sensor, 3D sound system, digital projection, and 3D simulation. The conceptual aim of the project is to integrate traditional and new forms of puppetry through different interfaces that will advance traditional forms of cultural expressions. This project focuses on analogies and differences between different puppet theatre traditions. A key aspect is the relationship between the Western puppetry and the Eastern puppetry traditions, and the impact of the resulting cross- cultural dialogue in dramatic performances with figures. In seeking to identify the potential effects of digital puppetry, I will obtain a new vocabulary for gestural musical performance and can develop guidelines that can be used for future creative theatrical practice in the field of digital puppetry. The aim of my research project is to design an interactive digital puppetry system which is sensitive to gestural acts of puppeteers and enriches the performances as a musical expressive medium on its own right. Such a system will serve creative possibilities using digitalisations of old forms by puppet restoration and preserving its instructions. Through analyses of European and Japanese traditional puppet theatres, I will achieve a new cross-cultural form of puppetry. Thus, I investigate how acts and music of puppetry can be restored from not only actual traditional. puppet theatre, but also archives and documents, then performed and remediated with digital performance technology. Furthermore, my investigation includes in transitioning layers between old and new media — objects of puppet theatre and digital simulation – alternative action and transformation. I believe that the digital re-presentation of traditional puppetry is one of the most efficient and effective ways to impart to later generations and also to revitalise the arts of puppet theatres. An orientation toward new medias will enable me to explore 'tradition' and the puppet as a technological media object. Through my digital practice and an encounter with old, lost, forgotten puppet theatre, I set out to create something new.
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Wada, Kumiko, Ryohei Egusa, Miki Namatame, Fusako Kusunoki, Hiroshi Mizoguchi, and Shigenori Inagaki. "Evaluation of the Universal Puppet Theater Based on Inclusive Design Method." In 2012 IEEE 4th International Conference on Digital Game and Intelligent Toy Enhanced Learning (DIGITEL 2012). IEEE, 2012. http://dx.doi.org/10.1109/digitel.2012.37.

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Mahmutoglu, Vildan. "Memory Shaping in Migration Age: Amal’s Walking." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.9-1.

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Memory forms through visual and auditory perception and experience. Yet, memory studies frequently note that past traumas influence memory and the shaping of memory. Here, studies on past suffering influence the field of memory studies. For example, Huyssen notes that the narratives concerning past trauma not only transfer this past pain but also build memory which will emerge in the future (2018). At the present time, the creation of narratives is increasingly shifting away from large institutions, where short story pieces are gaining a place in general media through their formation as micronarratives, thus structuring contemporary communication. Such is the case with puppet theatre and its narratives. For example, in Turkey, one popular current puppet theatre narrative is the journey of the puppet Amal, the Syrian girl protagonist in a puppet play created by the Good Chance Theatre. Within the narrative, Amal begins her journey in Gaziantep, a city in southern Turkey near the Turkish-Syrian border, and reaches the large city of Izmir, in Turkey, as a final destination. This study was carried out in Izmir, which is the last stop of Amal in Turkey. Before leaving Turkey, there were several activities held, and refugee children and Turkish children came together with Amal in those events. They played some games together to contribute to Amal's Izmir Diary – (Izmir Art, July 6, 2022). In the research, focus groups and in-depth interviews were realized with the children who participated in these events. By analysing the interviews, the effect of Amal’s walking performance on Syrian children will be revealed by keeping in the mind the key phrase ‘forming the memory’ and micronarrative.
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de Brito, Walderes Lima, Newton Camelo de Castro, and Carlos Roberto Bortolon. "Young Readers Transpetro Program: The Sustainable Development of Community Close to a Pipeline in Goia´s, Brazil." In 2008 7th International Pipeline Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/ipc2008-64584.

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A person reading an average of sixteen books per year is considered high even in so-called First World countries. This achievement is even more remarkable if it is performed by children of low-income families. An example is the participants of PETI, Child Labor Eradication Program of Jardim Canedo, a neighborhood located over part of the Sa˜o Paulo - Brasi´lia Pipeline, situated in Senador Canedo, Goia´s, Brazil. In 2007 this community experienced the Striving Readers Transpetro Program, which aims to develop a taste for reading among children. Transpetro expects to be helping to overcome the low-quality Brazilian education, reflected in the 72% rate of functional illiteracy. The chief objective of the Program is the development of art education workshops and the creation of the “Readers Group - What story is that?”. The workshops are meant for the educators, with the purpose of offering tools form them to spur the children into reading through techniques such as story-telling, theater, singing, puppet shows, set constructions and other audio visual resources. The Readers Group is intended for children. Participation is voluntary and offers literary books according to the childs’ taste and literacy. In the first year of operation, Striving Readers Transpetro Program relied on the participation of 100% of the educators in the Art Education Workshops and a commitment of 93% of the Readers Group members. It also played a part in the improvement of the childrens performance in formal school. Furthermore, the Program contributed to the mapping of libraries available for PETI members, supported the assembly of a catalogue of institutes that sponsor striving readers programs and performed workshops with the technical staff at selected institutes to educate them on how to conduct fund raising. Such actions, as a whole, ensured sustainability to the program and promoted a company relationship with the community and with the Regulatory Authority. This is a socially responsible approach to ensuring childrens’ rights are met.
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Hadzantonis, Michael. "Karangiozis in the Shadows: A Linguistic Anthropology of Greece's Shadow Puppetry." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.1-4.

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The Karangiozi theatre play has existed for centuries in its various forms and across territories. Initially emanating from the Ottoman regions, it entered Greece several centuries prior, and was popularized during Ottoman occupation of Greece. Structured on a system of multilayered symbolisms, the visuals, performances and narratives in Karangiozi present the lead character, Karangiozi, a poor and benevolent man who is frequently oppressed and beaten for his misdoings. The character must contend with the arrogance and comical approaches of other characters, and must support his family, all while accepting his low socioeconomic status. While the theatre has long addressed Greece’s political satire, nationalist discourse, and class and socioeconomic differentials, the performance has, over the past century, significantly shifted with respect to its poetics, narratives, and symbolisms. These shifts correlate with movements from capitalism to late capitalism, and to the information age, as technology and information flow, and the acceleration of time scales require a new engagement with media, technology and information, where old media, such as puppet theatre performance and its narratives, as well as poetic forms of vernacular, now appear redundant. In this paper, I address the changes in the Karangiozi puppet theatre performance. To this, I have collated a corpus of old and new Karangiozi narratives and performance scripts, which I compare. Factors I address include the altered poetics and script designs, and the notable shift in symbolisms, over the past century. Here, I draw on a framework of symbolic and narrative analysis, while also discussing the ways in which narratives and performance are newly appropriated in the shifting form of the theatre play.
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Reports on the topic "Puppet theater"

1

Doe, Connor. Puppet Theater in the German-Speaking World. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.88.

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