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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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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.
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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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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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Zhang, Liding. "Analysis/Reflection on the Influence of Combining Chinese Shadow Play with Digital Art for Foreign and Domestic Audiences." Advances in Education, Humanities and Social Science Research 6, no. 1 (July 20, 2023): 444. http://dx.doi.org/10.56028/aehssr.6.1.444.2023.
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This project focuses on the preservation and dissemination of Chinese Shadow Play, an intangible cultural heritage. In terms of methodology, digitizing traditional Shadow Play is an innovative attempt to break through geographical and content limitations to increase the audience and content diversity of shadow plays. The combination of traditional shadow puppet theater and 3D digital art can enrich the experience, increase interactivity, and lower the cost of viewing conditions, thus bringing the audience closer to shadow puppet theater. In terms of plot, traditional shadow plays’ content is limited to Chinese myths and fables, which is far removed from the modern tide of entertainment; instead, recent events and mixed-cultural elements can effectively innovate the scripts, integrate timely social topics, and explore new possibilities of shadow puppet content, so that shadow plays can become a cultural channel to reflect social issues. In addition, the project hopes to promote concern for the employment environment of older artists and disadvantaged groups in the process of traditional cultural creation, protect the traditional cultural creation environment, and provide a stable employment environment and community for shadow puppet craftsmen. Finally, unexplored financial value of shadow theater can be discovered via combining shadow puppet theater culture with the wider cultural and creative industry. We can develop new cultural and creative products while maintaining the traditional culture of shadow puppetry, such as integrating puppetry elements into everyday items and its proceeds of sell would give shadow play new commercial values.
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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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Bonczidai, Dezső. "Vasilache, a román vásári kesztyűs bábjáték hőse." Theatron 16, no. 1 (2022): 64–81. http://dx.doi.org/10.55502/the.2022.1.64.
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In my paper I will be talking about the evolution of the Romanian fair hand-puppet plays, the relationship of its hero, Vasilache, and the Karagöz plays, the appearance of Vasilache at fairs and tourneys, and the Vasilache and Mărioara plays after the regime change of ’89. The Romanian fair puppet plays splintered from puppet, and later religious puppet plays, to become an autonomous play style. According to Romanian researchers the play of puppets simplified over the course of time, and then crystallized to be the Vasilache and Mărioara show. By analyzing the traditional Romanian folk puppet hero’s evolutional history, we can note that the playing tradition was passed down from generation to generation, and the script was never written down. Current research data shows that we do not possess any evidence of folk puppeteers to have had a permanent playing spot. Furthermore, the data we have about their activities is as sporadic as the physical objects we are left with. It is very hard to reconstruct the original, traditional playing form of the folk puppeteers. The last folk puppeteer’s death caused the traditional form of the play to come to an end, the authentic style of the shows was not passed unto the next generation. Although the relevance of the Vasilache character has vanished from the puppet theater, it pops up in the repertoire of individual puppeteers, and occasionally puppet theaters.
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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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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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Gharbieh, All’a Akram Ibrahim. "The Effectiveness of a Training Program based on Puppets Theater in developing some Social and Ethical Values among Kindergarten children in the Directorate of Private Education." Jordanian Educational Journal 9, no. 1 (January 30, 2024): 265–90. http://dx.doi.org/10.46515/jaes.v9i1.472.
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This study aimed to identify the effectiveness of puppet theater in the development of some social values (participation, self-reliance, etiquette, safety and security rules) and the development of some ethical values (honesty, trust, altruism, benevolence, tolerance, apology). In order to achieve the aim of the study, the semi-experimental methodology was used in order to suit the objectives and nature of the study, depending on two groups, one of them is control and the other is experimental, chosen by the intentional method from the Evangelical Savior Kindergarten in Zarqa Governorate. The study revealed statistically significant differences between the mean scores of the experimental group students before applying the training program based on puppet theater (pre-test) and after applying the program in social and moral values in favor of the post-test. The results showed the effectiveness of the training program based on puppet theater in developing some social values by (1.44) in average scores and by (42.2%), and the effectiveness of the training program based on puppet theater in developing some social values was (1.64) in mean scores. By (145%). The study recommended the necessity of including kindergarten curricula with educational activities based on Puppet Theater in order to instill some moral and social values for them.
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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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Sayidolim, Khojaev, and Abdukhalilov A’zamjon. "A Look at Uzbek Puppet Theater." European Journal of Learning on History and Social Sciences 1, no. 2 (May 31, 2023): 88–92. http://dx.doi.org/10.61796/ejlhss.v1i2.169.
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A child’s mind looking at the world with joy is an example of white paper, and his heart is equally innocent. In this sense, the issue of upbringing is a process that requires careful thought, diligence and a deep mental approach. It is not appropriate to write or choose a work without taking into account the age of children, and clearly distinguishing the age group of the audience is the most important component. Puppet theater and theater art in general have special educational, ideological and aesthetic functions in the education of our young generation. The article talks about puppet theater and the attention paid to this field in Uzbekistan.
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Vucenovic, A. "THE PROBLEM OF TRADITIONAL FAIR FOLK PUPPET THEATER IN SERBIA: "KUKU TODOR", 1904-2021." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 23, no. 81 (2021): 45–53. http://dx.doi.org/10.37313/2413-9645-2021-23-81-45-53.
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During globalization and general universalization in society, issues of originality of certain forms and typology of heroes are raised, and not only in the theater, including puppet theater, but in all areas of culture. All this is an integral part of the process of searching for one's own national identity. The problem of traditionality is present in many segments of the culture of all peoples, including the Serbs. The issue of authenticity and tradition of the folk puppet theater "Kuku Todor" in Serbia, due to numerous reasons, is still far from being resolved. The words “tradition, traditional type, traditional hero…” are often mentioned in the context of this theater and its main character in Serbia. But what is behind this? Where did it come from among the Serbs, and why, when exactly do they return to it? What makes Kuku Todor a member of the great world brotherhood of puppet comedy heroes of folk theaters and in what ways do we find deviations from them? In this article, we partially consider the long-standing phenomenon of categorizing this performance as part of a tradition in Serbian theatrical culture, despite the lack of fixation of such a phenomenon in science. We will try to find answers to the questions before us, taking into account the historical facts related to the continuous wars in the Balkan spaces and,above all, in Serbia, which we are talking about.
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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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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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KOBILOVA, Feruza Nasrullayvna. "TRANSFORMATION IN SCENOGRAPHY OF PUPPET THEATER." European Journal of Arts, no. 2 (2023): 34–37. http://dx.doi.org/10.29013/eja-23-2-34-37.
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Shevchenko, Elena N. "YOUNG DIRECTING ON THE KAZAN STAGE." Челябинский гуманитарий 66, no. 1 (May 3, 2024): 77–84. http://dx.doi.org/10.47475/1999-5407-2024-66-1-77-84.
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The article is devoted to the young generation of directors working on the Kazan stage. These are those who have entered the profession over the past ten years. Among them there are already established masters such as Ilgiz Zainiev, Aidar Zabbarov, Timur Kulov, Ilsur Kazakbayev, a director from Bashkiria who is actively working in Tatarstan. There are also those who are at the very beginning of their career, but have already attracted attention with interesting productions and projects – Lilia Akhmetzyanova, Bulat Gataullin, Bulat Minkin and others. These young artists are successfully implemented in the multicultural environment of Tatarstan. Ilgiz Zainiev heads the Tatar Puppet Theater “Ekiyat”, working with both its Tatar and Russian troupes. His portfolio includes numerous productions in the Tatar drama theaters of Kazan and other cities of the republic: Almetyevsk, Atnya, Menzelinsk, Naberezhnye Chelny, performances in the Kazan Russian Youth Theater and the Naberezhnye Chelny Puppet Theater. Aidar Zabbarov is a director in demand by Russian theaters. In his native republic, he works mainly in the Tatar theaters of Kazan, Almetyevsk, Atnya, while simultaneously being the author of productions at several Russian theater venues. Timur Kulov also successfully cooperates with both Tatar and Russian theaters of the republic. Ilsur Kazakbayev works mainly in national theaters – Bashkir and Tatar. Lilia Akhmetzyanova is the director of the Kazan Russian Youth Theater and at the same time the author of productions at the Kazan Tatar Youth Theater named after G.Kariev and at the venues of the Living City Foundation for the Support of Contemporary Art. These and other directors largely determine the appearance of today’s theatrical Kazan. The purpose of this article is to identify the features of the author’s style of young directors who have especially vividly declared themselves on the Kazan stage, and through the individual try to consider something in common – the qualities inherent in the new generation of directing as such.
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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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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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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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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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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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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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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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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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Cavallo, Jo Ann. "Introduction." AOQU (Achilles Orlando Quixote Ulysses). Rivista di epica 4, no. 2 (December 30, 2023): 7–11. http://dx.doi.org/10.54103/2724-3346/22197.
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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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Quiros, Oscar Echo. "Puppet Drama As an Instrument of Environmental Preservation." International Journal of Science and Society 1, no. 3 (December 13, 2019): 103–19. http://dx.doi.org/10.54783/ijsoc.v1i3.33.
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This document discusses the knowledge about the promotion of environmental protection through the use of puppets and simple practical tests for the first grade in rural areas in southwestern Costa Rica. Twenty-eight college students wrote a puppet show, designed and built a puppet show, held presentations, and supervised scientific experiments. The experiments tried to uncover some of the natural onions that are related to the problems in the theater work. In 2016 and 2017, a total of 334 seven-year-old students from 19 primary schools participated. Students' views and answers to questions addressed to children were included in the table by questionnaire. A retrospective linear analysis was used to establish a correlation. The data showed that children had a much better understanding of the nature and importance of protection after games and ongoing trials.
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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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Yang, Chenbei. "Artistic Characteristics of the Puppet Theater in China." Университетский научный журнал, no. 67 (2022): 178–86. http://dx.doi.org/10.25807/22225064_2022_67_178.
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Verdonik, Maja. "Eugène Ionesco’s stories on the puppet theater scene." Studia Romanica et Anglica Zagrabiensia 65 (2020): 207–13. http://dx.doi.org/10.17234/sraz.65.25.
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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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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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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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Wijayanti, Sheila, and Syahadah Albaqiyatul Karimah. "Efforts to increase English vocabulary skills using puppet theater and flashcards at TK Islam Amaryllis, Cibubur." Community Empowerment 8, no. 9 (September 30, 2023): 1329–35. http://dx.doi.org/10.31603/ce.9785.
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This community service activity aims to increase English vocabulary in daily life for the kindergarten level at TK Islam Amaryllis, Cibubur. At the kindergarten stage, aspects of physical and psychosocial development are needed, which include intellectual, language, motoric, and social-emotional development. Besides that, especially the introduction of English vocabularies. Socialization, demonstration, and practice (with puppet theater and flashcards as media), and evaluation are the stages carried out in this program. The result is that students at TK Islam Amaryllis, Cibubur, have increased their knowledge of English vocabulary, which can be used for further levels of education by using or demonstrating learning media, namely puppet theater and flashcards.
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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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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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Yeshmuratova, А. К., and N. R. Eskendirov. "CONTEMPORARY ART OF THE PUPPET THEATER IN THE CONTEXT OF THE NATIONAL CULTURE OF KAZAKHSTAN." Keruen 77, no. 4 (December 20, 2022): 330–43. http://dx.doi.org/10.53871/2078-8134.2022.4-27.
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The author of the article considers the question of understanding the role of keeping alive and embodying national traditions in the modern theatrical space (on the example of the play "Er Tostik" of K. Yezhembek, staged by K. Eshmuratova). The analysis of the play "Er Tostik" is presented from the point of view of using a new range of expressive means and introducing modern genres of musical art as an original directorial solution. The purpose of this article is to study the contemporary art of the puppet theater in the context of the national culture of Kazakhstan.
In modern conditions of social development, when the whole world is on the verge of two times – two millennia: the second millennium is coming to an end and the third millennium is about to begin, due to objective and subjective reasons, among the urgent problems of the present, problems concerning not only the economic and political sphere, social development, but also no less an important one is the spiritual sphere. It is not for nothing that the processes that we can observe in our time with all the brightness and acuteness illuminate a wide range of problems in the field of spiritual culture of the country.
One of the topical issues of the spiritual development of modern Kazakh society is keeping alive the national traditions and values. And this topic became the key for the state project "Tugan Zher", developed on the initiative of the First President Nursultan Nazarbayev. The deep essence of the goal-setting of the presented state project is the formation of the cultural code of the nation, without which it is impossible to solve the tasks of strengthening national unity, developing human capital and civil society.
The formation of cultural codes is the core of the formation of cultural identity, which as you know should be formed starting from an early age, in the so-called sensitive period of personality development. It is obvious that puppet theater as an artistic phenomenon is in this sense one of the most effective forms of art. It is no coincidence that researcher E.Y. Romanovsky emphasizes that "the national is inherent in the very nature of the puppet theater. We can say that this theater has always had regional specifics or sought to express through the universal, some unique qualities of culture."
The modern Kazakh puppet theater, like society, is going through an age of active restructuring, when old norms and ideas fade into oblivion, revealing the way to a new methodology, a synergetic scientific approach. Today we can see how the puppet theater of the XXI century performs the functions of a research laboratory, diagnostics of public sentiment, a forecaster of the social future and a creative space for the formation of national values of a new generation.
Characterizing the repertoire policy of the modern Kazakh puppet theater it can be noted that, perhaps, the main goal of a particular collective is the opportunity to vividly reflect not only the peculiarities of the national identity of culture, but also to highlight the most important ideas and problems of modernity in their work. In the performances that define the face of the theater, attention is paid to the multidimensionality of Kazakh culture, the spiritual world of the contemporary, reflecting the problems of the common man.
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Kiswantoro, Aneng. "Perancangan Bioskop Wayang Lakon Jabang Tetuka (The Design of Shadow Puppet Movie Theater of Jabang Tetuka Play)." Wayang Nusantara: Journal of Puppetry 4, no. 1 (March 31, 2020): 40–48. http://dx.doi.org/10.24821/wayang.v4i1.3836.
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AbstractThe Design of Shadow Puppet Movie Theater of Jabang Tetuka Play. This paper aimed to discuss the design of Puppet Cinema with the Jabang Tetuka play. It was assumed that by utilizing digital and audio-visual technology, puppet shows are able to compete with other performances. Puppet Cinema Pakeliran with the Jabang Tetuka play was designed based on the concept of presenting a cinema film. This concept prioritizes two things, namely audio and visual. Jabang Tetuka play was taken from the Javanese shadow puppet story. Alma M. Hawkins design method used as the design method of this work. The Hawkins method includes three stages in the design, namely exploration, experimentation, and formation. The result obtained is a puppet show (pakeliran) of puppet cinema with the Jabang Tetuka play. AbstrakTulisan ini membahas perancangan Bioskop Wayang dengan lakon Jabang Tetuka. Diasumsikan dengan memanfaatkan teknologi digital dan audio-visual, pertunjukan wayang mampu bersaing dengan pertunjukan yang lain. Pakeliran Bioskop Wayang dengan lakon Jabang Tetuka dirancang berdasarkan konsep penyajian film bioskop. Konsep ini mengutamakan dua hal yaitu audio dan visual. Lakon Jabang Tetuka diambil dari cerita wayang kulit purwa. Metode perancangan Alma M. Hawkins dipakai sebagai metode perancangan karya ini. Dalam metode Hawkins tercakup tiga tahapan dalam perancangan ialah eksplorasi, eksperimentasi, dan pembentukan. Hasil yang didapat ialah pertunjukan wayang (pakeliran) bioskop wayang dengan lakon Jabang Tetuka.
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Vucenovic, A. "INTERACTION OF LIGHT AND SHADOW AS A PROJECTION IN THE PROCESS OF CREATING A SHADOW PERFORMANCE, A PHOTO AND A FILM." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 24, no. 84 (2022): 40–51. http://dx.doi.org/10.37313/2413-9645-2022-24-84-40-51.
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For many centuries, the name of one of the types of theater that exists in different forms has been recorded under the name "shadow theater". By this name, we mean many different principles of interaction between light and an object that create shadows. Since projection involves the use of light to achieve "light scenes" as well as the use of light as a tool for creating shadows, it is fair to call such a theater "theater of light and shadows." If we use the name “puppet theater”, since the puppet is the main performer in the performance, then in this case both light and shadows equally participate in their performing roles in the “light and shadow theater”. Light without shadow would not be light, and conversely, a shadow without light would not be a shadow. Their uses have evolved over time. Technological progress has also opened up great opportunities for the play of light and shadow. But the principle and essence of the function of the relationship between light and shadow did not change. Light, just like shadow, played a certain role on the screen within the framework of the plot presented in the play. Unfortunately, in theater studies there is still no professional theatrical terminology that allows you to communicate easily and understandably to all participants in the creation of such a performance. Right, professional terminology for working in the shadow theater technique is currently absent. The establishment of such a terminological system would help, first of all, to more easily define and distinguish between the varieties of shadows and light used, and also to raise this type of theater to a higher professional level.
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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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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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