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Journal articles on the topic 'Puppet theater Theater'

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Published: 4 June 2021
Last updated: 15 February 2022

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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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2

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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3

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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4

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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5

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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6

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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7

Bell, John. "The Bread and Puppet Theatre in Nicaragua, 1987." New Theatre Quarterly 5, no. 17 (February 1989): 8–22. http://dx.doi.org/10.1017/s0266464x0001530x.

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PETER SCHUMANN's Bread and Puppet Theatre began 25 years ago as a new way of making modern theatre, and as Schumann sees it, still is. As he recently stated, “there are two aspects to this newness: (1) the proposal for a much bigger, wider space for the arts to exist in than the space that the arts occupy now – a way for painting, music, sculpture, and language to exist together and in response to the questions of the time in which they live; and (2) the puppet theatre aspect: puppet theatre not as a special branch of theatre but as a challenge to theatre, as a concrete proposal for the overcoming of its shortcomings – a liberation from that fixed old schmaltz – a proposal for much bigger form, much more compositional freedom and adventure than an actors' theater can ever come up with.”
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8

Azizkulov, Akram A. "THE ART OF PUPPET-MAKING IN THE TEMURID PERIOD." JOURNAL OF LOOK TO THE PAST 4, no. 1 (January 30, 2021): 23–27. http://dx.doi.org/10.26739/2181-9599-2021-1-4.

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This article analyzes the views of Husayn Voiz Koshifiy on the puppet theaters (the art of puppetry) that were widespread in the Middle Ages in Central Asia. The article describes the wide popularity of the art of puppetry, even indicates the spread of this art among the representatives of sufism. The article also highlights the fact that Husain Voiz Koshifiy did not limit himself only to depicting the art of puppetry, but provided valuable information about the content and types of this art. The article also outlines the views of Husayn Voiz Koshifiy on what kind of behavior and qualifications people who practice the art of puppetry should have.Index Terms: Husain Voiz Koshifiy, scientific heritage, puppet theater, art, performance, stage, puppeteer, culture, social life, truth
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9

Ophrat, Hadas. "The Puppet and Visual Theater." Móin-Móin: Revista de estudos sobre teatro de formas animadas 2, no. 4 (May 15, 2018): 103–8. http://dx.doi.org/10.5965/2595034702042007103.

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10

Rojas, Yolanda Jurado. "Puppet Theater in Eighteenth-Century Mexico." Americas 67, no. 3 (January 2011): 315–29. http://dx.doi.org/10.1017/s0003161500000043.

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Puppet theater was considered a marginal form of entertainment during Mexico's colonial era. People saw puppet plays on temporary stages outside of churches, at various fairs, and in private homes. The puppet groups were officially overshadowed by the theater performances, especially those at the Coliseum of Comedias, one of the financial channels for the Hospital Real de Naturales. Leasing the coliseum provided one of the major sources of income for this royal charity for indigenous health care. In order to maintain the Coliseum's profitability and the benefits derived from it, colonial authorities prohibited most theater groups from performing outside of the Coliseum. The lease owner often called for government assistance against puppet troupes, in particular when they threatened attendance at the theater. This resulted in the so-called “League Comedy” (Comedia de la legua), which was a performance given at least five leagues outside of the central theater district of Mexico City, Puebla, and Guadalajara.
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11

Tipa, Violeta. "Festival Under The Sign of Premieres. Lalka tez czlowiek, XIV Edition." Theatrical Colloquia 10, no. 1 (May 1, 2020): 191–203. http://dx.doi.org/10.2478/tco-2020-0014.

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AbstractThe International Festival of Puppet Theaters for Adults Lalka tez czlowiek, organized by the Una Teatr Niemozliwy in Warsaw is at the XIV edition. The festival, which takes place in the gold of autumn, captivates the theater audience by the fact that it always manages to bring together the most diverse theaters, as well as a varied selection of performances, which make use of the new technologies and experiments in the theatrical language. Here, at this festival, tradition meets modernity, provoking discussions about the problems of evolution, the trends of aesthetics, and the language of animation theater ... Each performed show has completed the calendar of events, having to say something new with more or less artistic mastery, directorial ingenuity, ideational message, etc.
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12

Horta, Paulo Lemos. "Beyond the Palace: Transnational Itineraries of the City in the Arabian Nights." Publications of the Modern Language Association of America 131, no. 2 (March 2016): 487–95. http://dx.doi.org/10.1632/pmla.2016.131.2.487.

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Had shahrazad lived today she might have been on the first boat of middle eastern refugees to europe, posits the theater director Mahmoud al-Hurani in his new play 1001 Titanics. First performed in September 2015 by the Arab Puppet Theatre at the Metro al Madina Theater in Beirut, the play toured in Lebanese refugee camps throughout the fall. In al-Hurani's play Shahrazad tells the tale of a skinny boy named Ahmad, a refugee driven by the fall of rockets from his quaint village to an unnamed Arab metropolis symbolized by the paper cutout of a skyline of high rises. The production relies on silhouette, puppetry, and mime to tell its story. In one climactic scene, two characters play cards over an upturned fan, and when a cutout of a missile drops to the stage their cards are blown into oblivion.
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13

Starina, Evgeniia Valentinovna. "Puppet theater. History and modern times." Human and Society, no. 1 (6) (March 27, 2018): 18–20. http://dx.doi.org/10.21661/r-467694.

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14

Bell, J. "Petrushka: The Russian Carnival Puppet Theater." Theater 23, no. 3 (June 1, 1992): 94. http://dx.doi.org/10.1215/01610775-23-3-94a.

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15

Swiderski, Richard M., and Ministry of Education and Culture. "Our Cultural Fabric. Puppet Theater in India." Asian Folklore Studies 44, no. 1 (1985): 148. http://dx.doi.org/10.2307/1178000.

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Light, Terry R. "Hands on Stamps: Brazil 1976–Puppet Theater." Journal of Hand Surgery 36, no. 4 (April 2011): 603. http://dx.doi.org/10.1016/j.jhsa.2010.11.017.

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17

Akhmedova, Zaripat Abdullaevna. "SCENOGRAPHY OF THE DAGESTAN STATE PUPPET THEATER." Herald of the G. Tsadasa Institute of Language, Literature and Art, no. 21 (March 16, 2020): 102–5. http://dx.doi.org/10.31029/vestiyali21/17.

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The article traces the important work of stage designers when creating performances in the Dagestan puppet theater. The author also reveals the innovation of original directions and approaches in the field of Dagestan scenography. The experience in scenography of past generations and new solutions in this area of modern screenwriters can be useful for further study of this special kind of art.
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Maryam Khamidovna Ashurova. "Theater is a sacred place." International Journal on Integrated Education 3, no. 8 (August 29, 2020): 152–54. http://dx.doi.org/10.31149/ijie.v3i8.554.

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Puppet theater is an integral part of our ancient and rich culture, which differs from other types of art through its colorful and unique creativity. At the same time it is the cradle of all theatrical art forms. Its roots have been enriched, polished and developed by preserving the folklore, traditions, customs and national traditions of our people.
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Jácome, Jarbas, Maria Oliveira, Fernando Alvim, Veronica Teichrieb, and Geber Ramalho. "MamuLEDs: Mixed Reality meets Mamulengo." Journal on Interactive Systems 11, no. 1 (October 8, 2020): 12–26. http://dx.doi.org/10.5753/jis.2020.771.

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Techniques of Virtual, Augmented, and Mixed Reality (VR, AR, MR) have been used for puppet theater in different cultural contexts around the world. However, we are not yet aware of the use of these techniques in the Brazilian Northeast Popular Puppet Theater, a tradition known in Pernambuco as Mamulengo. We present here a system developed for “The Quarrel Between the Real Puppet and the Virtual Puppet,” a sketch created for the class Realidade Virtual e Aumentada of Computer Science program at CIn-UFPE. This paper aims to investigate how VR/AR/MR techniques can contribute to the creation of mamulengo shows. We used the method of qualitative case study, analyzing the audiovisual records of essays and presentation, the software solution developed in Unity 3D, and the data collected from a focus group interview with puppeteers. This study identified as weaknesses of our system: the hand tracking unreliability and the lack of tactile feedback, causing discomfort in experienced puppeteering professionals. As strengthens of the system, we found that the technology aroused interest because of its potential for expanding the options of tools available for popular puppetry shows creation in current times.
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Lubchak, Lyudmila. "TRAINING OF FUTURE NURSERY SCHOOL TEACHERS FOR THE ORGANIZATION OF THE PRESCHOOL AGE CHILDREN THEATRICAL ACTIVITY." Educational Discourse: collection of scientific papers, no. 9(11-12) (December 27, 2018): 91–103. http://dx.doi.org/10.33930/ed.2018.5007.9(11-12)-8.

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In order to increase readiness of future educators to organize theatrical activity in modern pre-school establishments, it is proposed not to include new educational disciplines to the universities’ curriculum, but to offer practical tasks for students to organize various kinds of children's theatrical activity in context of an existing disciplines of pedagogical cycle and in the process of pedagogical practice. Excursions to a puppet theater, manufacturing of various types of puppet theater with their subsequent presentation, demonstration of fragments of puppet performances during classes and pedagogical skills competitions, study of advanced pedagogical experience, etc. are considered to be effective forms and methods of work as part of practical classes of “Pedagogical Excellence”.
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Abdullaeva, Elmira Bashirovna. "MUSICAL ARRANGEMENT OF PERFORMANCES OF THE DAGESTAN PUPPET THEATER." Herald of the G. Tsadasa Institute of Language, Literature and Art, no. 21 (March 16, 2020): 76–79. http://dx.doi.org/10.31029/vestiyali21/13.

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The article shows the important role and functions of the musical component in the performances of the Dagestan puppet theater. Analyzing a number of puppet shows, the author discovers diversity of their musical design by attracting a wide range of composers with their original approach to the embodiment of musical dramatic art.
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Sheriko, Nicole. "Ben Jonson's Puppet Theater and Modeling Interpretive Practice." SEL Studies in English Literature 1500-1900 59, no. 2 (2019): 281–304. http://dx.doi.org/10.1353/sel.2019.0012.

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23

Leiter, Samuel L., and James R. Brandon. "Chūshingura: Studies in Kabuki and the Puppet Theater." Asian Theatre Journal 2, no. 1 (1985): 91. http://dx.doi.org/10.2307/1124517.

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Abduxalilov, Azam. "PUPPET THEATER PERFORMANCES AS A MEANS OF EDUCATION." CROSSROADS OF CULTURE 3, no. 2 (March 30, 2020): 42–47. http://dx.doi.org/10.26739/2181-0737-2020-3-7.

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Okui, Haruka. "Transforming Body, Emerging Utterance: Technique Acquisition at a Puppet Theater." Phenomenology & Practice 11, no. 1 (July 11, 2017): 18–31. http://dx.doi.org/10.29173/pandpr29335.

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This paper describes the moment when a new body technique is acquired, using a case study in which three puppeteers manipulate a single puppet together. Although phenomenology assumes that the world is always “already there” before reflection begins, we can still ask how a sequence of movements is acquired. Struggling to learn puppet choreography in a training session, the learner’s body encounters difficulties because it cannot easily imitate the proper movements. At the same time, the puppet master cannot easily explain those movements because he or she is so familiar with them. The communication between instructor and learner requires a kind of reflection that helps the learner transform and attain competency; this reflection is different from a dualistic disembodied form of thinking thatuses abstract representation. The focus is on the precise coordination of gestures and onomatopoeic utterances that emerge through improvisation in the learner’s trial movements. It is not just “a process of thinking,” but an experience that evokes “a synchronizing change of my own existence, a transformation of my being” (Merleau-Ponty, 1962, p. 213), through which the puppeteer facilitates his or her own body’s comprehension of new movements. Using puppetry as an example not only illuminates the phenomenon of learning a bodily skill, but also reveals the dynamics of our bodies, which can enliven our conversation, engender our transformation, and realize our being-in-the-world.
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Supriyadi, Moh. "تدريس مهارة الكلام بوسائل مسرح العرائس للمرحلة الإبتدائية بمعهد دار اللغة والدراسات الإسلامية سنينان أكور بالنجاءان باميكاسان." Al-Irfan : Journal of Arabic Literature and Islamic Studies 3, no. 2 (September 30, 2020): 143–60. http://dx.doi.org/10.36835/al-irfan.v3i2.4015.

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In Darul Lughah wad dirasatil islamiyah, it is one of the concentrated institutes that teach Arabic to non-native speakers. All students speak Arabic and it is forbidden to speak anything else. There is no exaggeration in it that teaches the Arabic language, communication on the four language skills, and it also teaches vocabulary, conversation, reading, writing, listening, speaking, grammar, and so on. Teachers used several methods of teaching language skills, including using puppet theater, which is achieved in teaching the skill of speech. The objectives of the research are: (1) Teaching the skill of speech by means of puppet theater for the elementary stage at the Darul Lughah wad dirasatil islamiyah (2) The influencing factors in teaching the skill of speech by means of puppet theater for the primary stage at the Darul Lughah wad dirasatil islamiyah The researcher uses the curriculum with qualitative and genre input in the field, and data sources in this research study this teaching, and students who participate in this teaching, then the director of the Darul Lughah wad dirasatil islamiyah. The method used to collect the data is the standardized interview, observation, history and documents. The method used in data analysis is the descriptive analytical study method. The result of this research is the use of puppet theater in teaching the skill of speech for the elementary stage at the Darul Lughah wad dirasatil islamiyah that includes objectives, steps, methods, evaluation, and material. The factors affecting this teaching consist of two parts, including: linguistic and non-linguistic. KEYWORDS: Learning, Speaking, Drama
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Ivanova-Ilyicheva, A., and N. Orekhov. "ROSTOV PUPPET THEATER: "OLD" AND "NEW" IN THE ARCHITECTURE OF SOVIET MODERNISM." Bulletin of Belgorod State Technological University named after. V. G. Shukhov 6, no. 1 (February 4, 2021): 58–65. http://dx.doi.org/10.34031/2071-7318-2021-6-1-58-65.

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Rostov Puppet Theater is an interesting example of the early stage of Soviet modernism in the region. It has an unusual building history and originality. The building with laconic and simplified forms outwardly corresponds to the image of the mass development of the 1960–1970s. Special features distinguish the building from among similar buildings. These are scale and harmony with the environment, compliance with the residential complex House of State Security Officers, and mosaic panels. On the basis of field studies of the Puppet Theater, the study of archival materials and design drawings, the authors managed to clarify the facts of the history of construction, identify the features of the stylistics of modernism, features of the spatial and planning structure and the architectural and artistic image of the building. The method of comparative analysis is used, comparing the materials of full-scale and historical-archival studies of the Puppet Theater with the project documentation and preserved images of the Annunciation Church, on the site of which it was built. The internal volume of the theater includes the remains of the structures of the destroyed church. The building became a clear illustration of the collision of “old” and “new” in the architecture of Soviet modernism, a reflection of the processes of changing aesthetic ideas of the time.
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Čopra, Aida. "Dancing in War. Perception of Theater in Wartime Sarajevo: Pippo Delbono, Giorgio Strehler and Peter Schumann." Društvene i humanističke studije (Online) 6, no. 3(16) (July 27, 2021): 81–94. http://dx.doi.org/10.51558/2490-3647.2021.6.3.81.

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„When I went to Sarajevo, I met a boy“, Pippo Delbono tells us. They talked, and suddenly the boy told him, „I saw an entire city in anger. I’ve seen people become monsters“. And Delbono replied, „And I’ve seen people look at me like I’m a monster. And all the things that turn into monstrosity“. Traveling, for Delbono, is a life experience that turns into a theatrical one at the same time. In 1998, Delbono created a play called War. The story of the boy he meets during his trip to Sarajevo is an introduction to Delbono’s magical world of theater through which he expresses the need to present a life that is born from suffering, illness, war, but in which we still „dancing“. Danzare nella guerra, „dancing in the war“, for Delbono means to oppose the war to the beauty, joy, and poetics of the movement. In 1995, Strehler directed a play called Mother Courage of Sarajevo based on the text written by Bertolt Brecht. For Strehler, Mother Courage of Sarajevo is not just a play, it is a symbol, a political act that portrays war as a human failure. Strehler based his vision of theater on Brecht’s epic theater. One year before, in 1993, with his puppet troupe, The Bread and Puppet, Peter Schumann came to Sarajevo to provide his support. In the first place, we want to show how Delbono’s conception of theater and experience during his trip to Sarajevo intertwine with the primary goal of Sarajevo theater in those years, as „spiritual resistance“, „spiritual needs“, „call to heal wounded souls“, a „super theater“, as Izudin Bajrović calls him, in which theater and life were the same. Through Strehler’s theater, his relationship with Sarajevo, and the breaking of the „fourth wall“, we will talk about theater as research of those eternal human values, but also returning to humane theater. In the third place, through Schumann’s work, we will show how the external theatrical reality intertwines with the internal one as a feature of strong political engagement.
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Lowry, Madeline. "To Be or Not to Be … a Puppet? Der Bestrafte Brudermord." Scene: Reviews of Early Modern Drama, no. 1 (October 13, 2018): 52. http://dx.doi.org/10.18357/scene01201718444.

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Kurbanov, Anvar, and Feruza Kurbanova. "PROSPECTS FOR THE DEVELOPMENT OF CONTEMPORARY ART PUPPET THEATER." CROSSROADS OF CULTURE 1, no. 2 (January 30, 2020): 35–41. http://dx.doi.org/10.26739/2181-0737-2020-1-8.

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Ubaydullayeva, Mohisadaf. "The art of puppet theater in the Temurian period." ACADEMICIA: An International Multidisciplinary Research Journal 11, no. 3 (2021): 1821–24. http://dx.doi.org/10.5958/2249-7137.2021.00816.8.

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Petcu, Ioana. "“Bach never lacked violinists, so Peter never lacks puppeteers” – interview with the Bread and Puppet Theater." Theatrical Colloquia 7, no. 2 (December 1, 2017): 291–301. http://dx.doi.org/10.1515/tco-2017-0028.

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Abstract The American Bread and Puppet Theater, funded and coordinated by Peter Schumann, answered the International Theater Festival for the Young Public’s invitation at its 10th edition. This event was a Prologue, according to the organizers, and took place on the 30th of September. I arrived at theater during their rehearsal for the show presented - “basic byebye cantastoria extravaganza”. It was a great opportunity for me to see the actors patiently adapting their voices to the new stage condition. During a break I talked with three of them – this is how I met young artists Esteli Kitchen, Joe Therrien and Josh Krugman, relaxed, full of energy, and easily immersing themselves into our dialogue, in which I carefully inserted some anarchic ideas and a dash of humor.
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Zaatov, Ismet A. "Crym Girey I – the founder of the classical theater in the Crimea (on the issue of 257 years experience of the Crimean Tatar`s first theatrical productions of the European type theater)." Crimean Historical Review, no. 1 (2020): 100–135. http://dx.doi.org/10.22378/kio.2020.1.100-135.

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The formation process of the Crimean Tatar theater can be divided into the following periods: medieval – folk theater (the initial round dance and toy puppet theater of shadows “Karagoz”, the theater of one actor “meddah”, the arena theater “orta oyuny”); Khan`s theater in the middle of the XVIII century (penetration into the Crimea of European theater traditions in the era of the Crimean Khan Crym Girey I); the revival of traditions of the Crimean Tatar theater late XIX–XX centuries (the activities of a theater-goers group of the Jadidist Crimean Tatar youth–followers of I. Gasprinsky, under the leadership of J. Meinov – the efforts of the Crimean Tatar noblewoman-myrzachkas under the leadership of A. Taiganskaya; organization of a professional Simferopol Tatar theater troupe under the People’s Commissar of Education of the Crimean ASSR in 1921 and creation and activities of the Crimean Tatar Drama Theater, headed by A. Taigan, and the Crimean Tatar amateur movement in the Crimea, and among the Crimean Tatar foreign diaspora of 1923–1944 (Soviet pre-deportation period); recreation and current activities of the Crimean Tatar theater in the Crimea,1989 (post deportation period). In this article, for the first time in the art history, is revealed the so-called Khan`s period in the formation of the Crimean Tatar theater, discussed the revolutionary activity in the field of Crimean Tatar art, the ascetic activity of the Crimean Khan Crym Girey I to promote the ideas of European theater traditions and create a classical theater in the Crimea. The picture of the actions undertaken by the Crimean ruler in the construction of theater business in the Crimea, as well as his thoughts and statements about the theater, was recreated according to the text published in the XVIII century, memories of personal meetings and conversations with Crym Girey I of European authors: German – von der Goltz, Polish – Pilshtynova, Russian – Nikiforov, Frenchman – de Tott, Austrian – Kleeman. Based on these recollections is built a clear and explicit picture of a role of Crym Girey I as a pioneer in bringing European theater traditions and creation of a classical theater in the culture of the Crimea, the Turkic and Muslim worlds.
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Williams, Sean, and Andrew N. Weintraub. "Wayang Golek: The Sound and Celebration of Sundanese Puppet Theater." Yearbook for Traditional Music 34 (2002): 223. http://dx.doi.org/10.2307/3649215.

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Kartomi, Margeret, and Andrew N. Weintraub. "Wayang Golek: The Sound and Celebration of Sundanese Puppet Theater." Ethnomusicology 47, no. 3 (2003): 423. http://dx.doi.org/10.2307/3113952.

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Becker, Judith. "Power Plays: Wayang Golek Puppet Theater of West Java (review)." Notes 62, no. 2 (2005): 372–74. http://dx.doi.org/10.1353/not.2005.0122.

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Williams, Sean. "Power Plays: Wayang Golek Puppet Theater of West Java (review)." Asian Music 36, no. 2 (2005): 109–13. http://dx.doi.org/10.1353/amu.2005.0025.

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Astles, Cariad. "Training experiences in cyberspace and creative processes in social isolation." Móin-Móin - Revista de Estudos sobre Teatro de Formas Animadas 1, no. 24 (August 17, 2021): 34–47. http://dx.doi.org/10.5965/2595034701242021034.

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This article was prepared from the conference that the author gave at the opening of ANIMA UDESC - Internacional Seminar of Studies in the Arts of Puppetry - Online Edition, on May 21, 2021. The conference had as its theme Training experiences in cyberspace and creative processes in social isolation, and addressed aspects of the link between Puppet Theater and the pandemic, and reflections based on the author's work with her students in the first six months of the pandemic.
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Yang, Zheng. "Identity Transplantation: A Psychoanalysis of “Puppetness” in the Novel of Sabbath’s Theater." English Language and Literature Studies 7, no. 1 (February 8, 2017): 65. http://dx.doi.org/10.5539/ells.v7n1p65.

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Set against the backdrop of the lower class in America, the novel Sabbath’s Theater, which can be interpreted as a “memory’s museum of earthly blight” (Roth, 1996, p. 353), unveils a panorama of how an innocent and ingenuous boy degenerates into a dissolute and lascivious puppeteer. Mickey Sabbath, the protagonist of the novel, is described as a decadent libertine whose lustful cupidity does not subdue in the wake of his ongoing senility. Working as a puppeteer, Sabbath shrewdly turns his fingers into a pragmatic tool of subsistence and more sardonically, a licentious hook of sexuality. He epitomizes every desperate and listless loser who languishes in a dilemma between life and death. However, the law of nature has no mercy for the defeated. Like “one of billions who has grown old, ugly and embittered” (Roth, 1996, p. 143), Sabbath, at the age of sixty four, is confronted with a battery of crises—he becomes “wifeless, mistressless, penniless, vocationless and homeless” (Roth, 1996, p. 142). Enveloped in desperation and fatalism, Sabbath sets foot upon a journey toward the ultimate destination of death, during which he recalls his “motherless” childhood, his disillusioned adolescence, his youthful debauchery in whorehouses, and his irrevocable self-abandonment to puppets and women. Philip Roth compares puppetry into a “faultlessly rendered duet” (Roth, 1996, p. 438), shedding light on the cohesive juxtaposition of two divergent identities in a puppet show. This research focuses on why and how Mickey Sabbath’s outrageous abuse of identity transplantation becomes a scourge of his perversion. The concept of “puppetness” is introduced in this paper to account for the quasi-human attributes of puppets and the trinity relationship among puppets, puppeteers, and audiences. The distinctive power of puppets in emotional appeal makes them a soul-stirring agent that mediate through performers and audiences. Psychoanalysis is expected to be an optimal theory to approach to “puppetness” in this empathetic scenario.
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Ardiyasa, I. Putu. "Kepercayaan Interpersonal: Keberlanjutan Pengelolaan Organisasi Papermoon Puppet Theatre." JURNAL TATA KELOLA SENI 2, no. 1 (December 20, 2017): 31–38. http://dx.doi.org/10.24821/jtks.v2i1.1812.

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Bagaimana membangun kepercayaan organisasi seni pertunjukan? Sebagai organsiasi yang memberdayakan “jasa” pertunjukan, pengelolaan organisasi selalu mengacu pada kehadiran penonton, sehingga sangat membutuhkan hadirnya kepercayaan penonton kepada organisasi yang berkelanjutan. Organisai seni pertunjukan cenderung tidak memperhatikan aspek kepercayaan, organisasi lebih fokus pada karya. Oleh sebab itu, penelitian ini mengajukan suatu klasifikasi model kepercayaan interpersonal pada keberlanjutan pengelolaan organisasi Papermoon Puppet Theatre. Sembilan orang narasumber diwawancarai untuk mendapatkan informasi terkait topik penelitian tersebut. Hasilnya menunjukkan terdapat kepercayaan internal dan eksternal organisasi. Terdapat tiga aspek penting yang harus diberdayakan dalam membangun kepercayaan, yaitu seniman, kesenian, dan masyarakat. How to build the trust of a performing arts organization? As an organization that empowers the services of the show, organizational management always refers to the presence of the audience, thus requiring the presence of trust in the audience to a sustainable organization. The performing arts organizations tend not to pay attention to the aspect of trust, the organization focuses more on the work. Therefore, this study proposes a classification of interpersonal trust models on the sustainability of the Papermoon Puppet Theater organization. Nine resource persons were interviewed for information related to the research topic. The results show there are internal and external organizational confidence. There are three important aspects that must be empowered in building trust, namely artists, art, and society.
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Peck, Sharon M., and Aubre J. Virkler. "Reading in the Shadows: Extending Literacy Skills Through Shadow-Puppet Theater." Reading Teacher 59, no. 8 (May 2006): 786–95. http://dx.doi.org/10.1598/rt.59.8.6.

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Stavrakopoulou, Anna. "Karagiozis: Culture and Comedy in Greek Puppet Theater (review)." Journal of Modern Greek Studies 11, no. 1 (1993): 179–83. http://dx.doi.org/10.1353/mgs.2010.0100.

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Ashurova, Maryam. "INNOVATIVE STAGES IN THE FORMATION OF CREATION OF A PUPPET THEATER." CROSSROADS OF CULTURE 3, no. 2 (March 30, 2020): 22–26. http://dx.doi.org/10.26739/2181-0737-2020-3-4.

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Albarrán, Elena Jackson. "Comino Vence al Diablo and Other Terrifying Episodes: Teatro Guiñol's Itinerant Puppet Theater in 1930s Mexico." Americas 67, no. 3 (January 2011): 355–74. http://dx.doi.org/10.1017/s0003161500000067.

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Ahush fell over the gathering of fidgety kindergarteners on a May morning in 1934 in an Ixtapalapa schoolyard, as stage curtains drew apart to reveal an animated stereotypically black hand puppet (El Negrito) laboriously hauling firewood back and forth at the behest of his patrón. El Negrito complained about his plight, and the children's eyes widened with terror, reflecting the fear demonstrated by the puppet when the patrón threatened the arrival of the Devil if he did not keep working. Enter Comino, a cheeky young boy puppet, whose grandmother, accusing him of slothfulness, had brought him to the patrón to learn some work ethic. A Devil puppet loomed large on the makeshift stage, bellowing out vague threats. Two kindergarteners burst into tears. Not wanting to disturb the rest of the captive audience, the teacher removed the terrified girls and brought them around to the back of the stage so that they could see the puppeteers manipulating the cloth, felt and wooden dolls. Despite her efforts, the girls remained inconsolable and refused to watch the rest of the show.
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Jannarone, Kimberly. "Puppetry and Pataphysics: Populism and the Ubu Cycle." New Theatre Quarterly 17, no. 3 (August 2001): 239–53. http://dx.doi.org/10.1017/s0266464x00014755.

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Many partisans of Alfred Jarry's work have discovered Ubu roi and the ‘science’ of pataphysics via a study of the Parisian avant-garde, and the play has been discussed for a hundred years in this context. Kimberly Jannarone also assesses Jarry in the context of the world of rural puppetry – for, like many other avant-garde artists at the fin de siècle, Jarry came to Paris from a small town, and brought with him such formative experiences as the makeshift puppet shows he saw as a child. Bringing the rural puppet into focus in a discussion of the Ubu cycle, Kimberly Jannarone exposes Père Ubu's identity as a class hybrid, whose maddening and elusive nature stems from the fusion of popular and elite forms. Further, she reveals that Jarry's use of puppet forms is radically different from that of the Symbolists, who conceived puppets as theoretical figures within a fully formed aesthetic doctrine. By contrast, Jarry used puppets for their very incompleteness – their makeshift nature making them ideal catalysts for the audience's imaginations. She sees Pataphysics as a model of the avant-garde itself: a system that focuses less on products than on effects. Kimberly Jannarone has taught at the University of Washington School of Drama, and is about to take up an appointment as Assistant Professor of Theater Arts at the University of California, Santa Cruz. She received her MFA and DFA from the Yale School of Drama, where her dissertation examined the historical avant-garde through the works of Jarry and Antonin Artaud.
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Brown, Ian Jarvis. "Voices of the Puppet Masters: The Wayang Golek Theater of Indonesia (review)." Asian Theatre Journal 20, no. 1 (2003): 93–95. http://dx.doi.org/10.1353/atj.2003.0001.

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Ababkova, N. N. "PUPPET THEATER REVIVAL IN KHABAROVSK AT THE TURN OF XX–XXI CENTURIES." Scholarly Notes of Komsomolsk-na-Amure State Technical University 2, no. 26 (June 14, 2016): 8–11. http://dx.doi.org/10.17084/2016.ii-2(26).2.

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Yamanoue, H., M. Okui, and F. Okano. "Geometrical analysis of puppet-theater and cardboard effects in stereoscopic HDTV images." IEEE Transactions on Circuits and Systems for Video Technology 16, no. 6 (June 2006): 744–52. http://dx.doi.org/10.1109/tcsvt.2006.875213.

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Mukadas, Andi Baetal, and Totok Sumaryanto Florentinus. "Visual aesthetic of Petta Puang theater group performance in South Sulawesi." Harmonia: Journal of Arts Research and Education 17, no. 1 (June 16, 2017): 96. http://dx.doi.org/10.15294/harmonia.v17i1.9009.

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<p class="IsiAbstrakIndo">This study aims to provide a description of the visual aesthetics contained in the show Puppet Theater <em>Petta Puang </em>in South Sulawesi in connection with the network of symbolic meaning inherent in it. The method used is descriptive-interpretivime method symbolic, with data collection techniques through direct observation, interviews, and documentation. The result of the research shows that in the performance of <em>Petta Puang </em>Puppet Theater there is a visual aesthetic that characterizes the main character «Petta Puang» in every appearance that is <em>jas tutup</em>, <em>songkok guru (songkok to Bone)</em>, and <em>lipa ‘sabbe’</em>. Some visual aesthetics have symbolic meaning directly related to the socio-cultural values of the people of South Sulawesi. <em>Lipa ‘sabbe (silk sarong)</em> is a Bugis sarong which has a fine texture as a representation of the tenderness and social politeness of Bugis tribe, while vertical and horizontal lines are markers of human relationship with God and human relationships in the social system. <em>Jas Tutup</em> originally consists of two colors, namely black and white. Two elements of color is a neutral color that confirms the impression of depth and sanctity that became the patron of Bugis tribe values.</p>
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Estrin, Marc. "The Sustainable Energy of the Bread & Puppet Theater: Lessons Outside the Box." Radical Teacher, no. 89 (February 24, 2011): 20–30. http://dx.doi.org/10.5406/radicalteacher.89.0020.

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