To see the other types of publications on this topic, follow the link: Puppet theatre.
Dissertations / Theses on the topic 'Puppet theatre'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Puppet theatre.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Lovrič, Sara. "Illusion in Puppet Theatre." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-202410.
Full textAbstract:
Tématem této práce je studium iluze v loutkovém divadle. V první části se pokusím objasnit pojem iluze v umění všeobecně. Hlavním předpokladem je, že umění a iluze jsou dva neoddělitelné pojmy. Iliuze není výsldkem neby výplodem umění, nýbrž nevyhnutelným prostředkem k analýze věcí. Ona neskutečným způsobem pomáhá k prožitku skutečného a neskutečného světa. V tomto prožitku kromě umělce působí také pozorovatel, na jehož schopnosti vnímat umělcovy iluze závisí také samotný účinek této iluze.V divadelním umění se iluze děje v okamžiku a prostoru před očima diváka. Zázrak iluze se uskutečňuje před námi a zapomínáme, že je tady.V loutkovém umění má loutka, jako uměle stvořená scénická postava, již v samé své podstatě iluzorní charakter. Právě potřebě člověka tvořit a jeho pokusům měnit skutečnost dluží loutka svůj původ. Již v prehistorii byla loutka prostředkem pro navazování kontaktů s Bohem. V romantismu umělci probudí tento metaforický vztah a pozvednou loutkové divadlo jako umělecky hodnotnou formu. Období modernismu přináší nové úvahy o teorii loutek. Modernisté začínají v loutce poznávat nové, symbolické možnosti. Tyto úvahy o loutkách přispěly k vývoji loutkového divadla, které vyžaduje svůj vlastní jazyk iluze. Loutka již nenapodobuje skutečnost, nýbrž vytváří novou skutečnost. Další vývoj loutkového divadla se vydává směrem k experimentování s různými loutkářskými možnostmi vyjadřování. Odhazuje se paraván, loutka a animátor se objevují společně na scéně. Iluze je zpochybněna kvůli prezentaci reálnosti tvorby. Při hledání poetického jazyka vyjadřování se v loutkovém divadle začínají animovat části těla, materiály, předměty? Skutečné předměty dostávají neskutečný význam a iluze metamorfózy se děje před našima očimaNa konci práce se ohlédnu i na loutkové divadlo v Chorvatsku. V tomto krátkém ohlédnutí se pokusím nastínit přehled vývoje loutkářství a jeho iluze a objasnit vlivy, které přispěly k tomuto vývoji.
2
Sinthuphan, Jirayudh. "Animation in Siamese-Thai puppet theatre." Thesis, University of Exeter, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.445455.
Full text
3
Stoessner, Jennifer Kathleen. "Infecting the Inanimate: Puppet Theatre Responds to Aids." The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1363614334.
Full text
4
Kopecká, Aneta. "Divadlo DRAK a jeho vliv na divadlo Spare Parts Puppet Theatre." Master's thesis, Akademie múzických umění v Praze. Divadelní fakulta AMU. Knihovna, 2011. http://www.nusl.cz/ntk/nusl-96651.
Full textAbstract:
This diploma thesis is dealing with two theatres: a Czech Puppet theatre called Theatre DRAK and an Australian theatre called Spare Parts Puppet Theatre. The thesis describes the influence of Czech Puppet Theatre at the Australian Puppet Theatre. The first chapter talks about the development of the DRAK Theatre, including the characteristics of chosen plays for the past few years. The next chapter gathers some information about Australian Puppet Theatre general from the 60s of 20th century. The third chapter outlines development of the Spare Parts Puppet Theatre as well as the plays for the past two years. The final section records relationships and cooperation between the two theatres and main highlights of similarities and contrasts conclude it.
5
Garrett, Thomas Butler. "The puppet, the cinematic and contemporary visual theatre : principles, practices, logos." Thesis, University of Brighton, 2009. https://research.brighton.ac.uk/en/studentTheses/6390bb62-a47d-4547-b6ee-af1375ec9473.
Full textAbstract:
This thesis finds inspiration in practitioner academics such as Craig and Meyerhold, and is conceived as a practice-informed research degree, consisting of a written element and a practical element that draw on and inspire each other. That there is value in both practising and analysing an art form is argued, and ‘case studies’ are made of practitioner/theorists at either end of the genealogy traced in the research: both those at the beginning of the 20th century and those at the beginning of the 21st. A case is made for judging the work of artists such as Robert Lepage, Robert Wilson, Complicité, and Faulty Optic as exemplars of contemporary Visual Theatre practice, combining and being inspired by the twin modes of puppetness and the cinematic. Alongside case studies of these practitioners sits analysis of the practical element of the thesis: a work-inprogress piece of auteur-led Visual Theatre practice that questions and illuminates the written component of the thesis.
6
Riley, Josephine. "The articulate figure : a study of presence in the Chinese theatre." Thesis, University of East Anglia, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.261171.
Full text
7
Koerner, Ethan. "Voicing an other utilizing puppetry and pageantry for community-based spectacle in America /." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1219701727.
Full text
8
Grant, Ian John. "Shadows, touch and digital puppeteering : a media archaeological approach." Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/80919/.
Full textAbstract:
Aims The practical aim of this research project is to create a multi-touch digital puppetry system that simulates shadow theatre environments and translates gestural acts of touch into live and expressive control of virtual shadow figures. The research is focussed on the qualities of movement achievable through the haptics of single and multi-touch control of the digital puppets in the simulation. An associated aim is to create a collaborative environment where multiple performers can control dynamic animation and scenography, and create novel visualisations and narratives. The conceptual aim is to link traditional and new forms of puppetry seeking cultural significance in the 'remediation' of old forms that avail themselves of new haptic resources and collaborative interfaces. The thesis evaluates related prior art where traditional worlds of shadow performance meet new media, digital projection and 3D simulation, in order to investigate how changing technical contexts transform the potential of shadows as an expressive medium. Methodology The thesis uses cultural analysis of relevant documentary material to contextualise the practical work by relating the media archaeology of 2D puppetry-shadows, shadowgraphs and silhouettes-to landmark work in real-time computer graphics and performance animation. The survey considers the work of puppeteers, animators, computer graphics specialists and media artists. Through practice and an experimental approach to critical digital creativity, the study provides practical evidence of multiple iterations of controllable physics-based animation delivering expressive puppet motion through touch and multiuser interaction. Video sequences of puppet movement and written observational analysis document the intangible aspects of animation in performance. Through re-animation of archival shadow puppets, the study presents an emerging artistic media archaeological method. The major element of this method has been the restoration of a collection of Turkish Karagöz Shadow puppets from the Institut International de la Marionnette (Charleville, France) into a playable digital form. Results The thesis presents a developing creative and analytical framework for digital shadow puppetry. It proposes a media archaeological method for working creatively with puppet archives that unlock the kinetic and expressive potential of restored figures. The interaction design introduces novel approaches to puppetry control systems-using spring networks-with objects under physics-simulation that demonstrate emergent expressive qualities. The system facilitates a dance of agency¹ between puppeteer and digital instrument. The practical elements have produced several software iterations and a tool-kit for generating elegant, nuanced multi-touch shadow puppetry. The study presents accidental discoveries-serendipitous benefits of open-ended practical exploration. For instance: the extensible nature of the control system means novel input-other than touch-can provide exciting potential for accessible user interaction, e.g. with gaze duration and eye direction. The study also identifies limitations including the rate of software change and obsolescence, the scope of physics-based animation and failures of simulation. Originality/value The work has historical value in that it documents and begins a media archaeology of digital puppetry, an animated phenomenon of increasing academic and commercial interest. The work is of artistic value providing an interactive approach to making digital performance from archival material in the domain of shadow theatre. The work contributes to the electronic heritage of existing puppetry collections. The study establishes a survey of digital puppetry, setting a research agenda for future studies. Work may proceed to digitise, rig and create collaborative and web-mediated touch-based motion control systems for 2D and 3D puppets. The present study thus provides a solid platform to restore past performances and create new work from old, near forgotten-forms.
9
Quintero, Buffy Serene. "Puppetry and art education: a personal journey." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/1063.
Full textAbstract:
The thesis is an auto-ethnographic study of the author's journey to use puppetry arts as a mode of personal expression. It documents the process of developing; rehearsing; building puppets, props and stage; and performing a puppet performance. The thesis also includes primary source research obtained from an interview with professional puppeteer, Monica Leo, of Eulenspiegel Puppets. The author also describes and reflects upon her experiences teaching an enrichment course on puppetry arts to elementary students. The research highlights ways that puppetry arts can affect students' learning and reflects on its place within the field of art education.
10
Christoffersen, Joshua Michael. "Telling stories with pictures : exploring theatrical design." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1568.
Full textAbstract:
This document will chronicle the theatrical design work of Josh Christoffersen at the University of Iowa from August of 2012 through the spring of 2015. The bulk of the images included will be production photos of realized productions--both large-scale mainstage and smaller independent productions--as well as draftings, paint elevations, and sketches to illuminate the process of the artist. The intent is that this document will stand as a record of the various techniques and tactics used throughout my graduate career to tell a story through design
11
Silva, Karen Roberta Soares da. "Geografar, alfabetizar com fantoches, é só começar!" reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/38617.
Full textAbstract:
A presente pesquisa versa sobre a possibilidade ou não da alfabetização geográfica por meio do Teatro de Fantoche como possibilidade de uma prática lúdica, mais envolvente e que permita a autonomia do sujeito em sala de aula. Na coxia buscamos as informações por meio de entrevistas realizadas com sujeitos alunos e professores de terceira série/ano do Ensino Fundamental, em três escolas de Porto Alegre. O Objetivo geral que buscamos foi observar se o lúdico do teatro de Fantoches é uma possibilidade facilitadora da construção do Conhecimento Geográfico. Trabalhamos com a dialógica, a recursividade e o princípio hologramático, na crença não de uma única verdade, mas das verdades serem muitas e também provisórias. Nossos procedimentos no palco basearam-se na Pesquisa Qualitativa. Na primeira cena exercitamos o ato do conhecer os atores, o palco e o Teatro. As reflexões sobre essa cena dizem respeito à construção do conhecimento geográfico com ênfase nos conceitos de Espaço, de Lugar e de Orientação por meio do Teatro de Fantoches. Para tanto buscamos o apoio da Epistemologia Genética para compreender provisoriamente como a criança constrói o conhecimento. Na segunda cena tratamos das questões metodológicas. A terceira cena é dedicada às leituras produzidas na coxia e no palco: no primeiro ato desta cena encontramos as Representações das entrevistas com os sujeitos professores e sujeitos alunos. No segundo ato as representações das oficinas que, nesse momento, analisamos as oficinas de contação de histórias e de construção dos Fantoches. No terceiro ato as Represent(ações) das Apresent(ações); o estudo das representações espaciais e sociais dos sujeitos alunos para a construção do conhecimento, por meio da apresentação teatral com os Fantoches, foi vista como importante para a compreensão do conhecimento geográfico. No último ato, mas nem tão final da peça, dedicamos às reflexões de nossos objetivos com as práticas adotadas no palco. Observamos que há um predomínio nas narrativas dos sujeitos alunos quanto ao brincar, em especial ao lúdico. Procuramos analisar os significados que os sujeitos atribuem ao brincar, bem como o seu papel nas representações espaciais e sociais.This research deals with the possibility or not geographic literacy through the Puppet Theatre as a practical possibility of entertaining, more engaging an denabling the autonomy of the subject in the classroom. Backstage seek information through interviews with subject teachers and students of third grade / year of elementary school, in three schools of Porto Alegre. The general objective was to observe whether we seek to play the puppet theater is a possibility of facilitating the construction of geographical knowledge. We work with the dialogue, theholographic principle and recursion, a belief in not only truth but many truths are also provisional. Our procedures were based on the stage in Qualitative Research. In the first scene exercise the act of knowing the actors, the stage and theater. Reflections on the scene to the construction of geographical knowledge with emphasis on the concepts of space, place and guidance through the puppet theater. To this end we seek the support of Genetic Epistemology to provisionally understand how the child constructs knowledge. In the second scene of treat methodological issues. The third scene is devoted to the readings produced backstage and on stage: in the first act of this scene we find the representations of the interviews with the subjects and subject teachers students. In the second act the representations of the workshops at that time, we analyze the storytelling workshops and construction of puppets. In the third act represents (shares) of Presentations (actions), the study of social and spatial representations of the subjects students to construct knowledge by means of theatrical presentation with puppets, was seen as important for the understanding of geographical knowledge. In the last act, but not as the final piece, dedicated to the reflections of our goals with the practices adopted on stage. We note that there is a predominance in the narratives of the subjects students about the play, especially to play. We tried to analyze the meanings individuals give to the play, as well as its role in social and spatial representations.
12
Proßowsky, Bjela. "“How to Talk to Dragons” Insights into the Praxis of an Inter-Cultural Shadow Puppet Theatre Play." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22271.
Full textAbstract:
Cultural diversity in a global community demands our tolerant understanding of one another. Participatory art projects can be instrumental in facilitating equal-footing encounters and creative communication between people from different cultures that transcend language barriers. Used as a methodology for synergistic exchange and exploration, they represent a useful tool for the study and advancement of alternative solutions to development-related themes, particularly where non-verbal communication is either essential or advantageous.This report considers an independent arts-based project, “How to Talk to Dragons”, which was carried out in Phnom Penh, Cambodia by cultural workers from Berlin. The inter-cultural project chose the art form of shadow puppetry to explore the country’s culture and the experiences of its people, and to exchange ideas and perspectives in an engaging and socially just forum. The question guiding this cultural voyage of discovery was how the symbolic dragon, a mythical creature with a global resonance but subject to different perceptions in Europe and Asia, might be used as an agent for opening the way to revealing insights into human nature.The report also explores the links between How to Talk to Dragons and ComDev practices and, by incorporating an auto-ethnographic approach, considers how this method can serve to provide a better understanding of practice and add value to project analysis from a practitioner's perspective.It finds that open concept projects offer an exceptional flexibility to adapt to local and cultural conditions and makes the case for the Cambodian shadow theatre known as Sbek Touch (literal meaning: small leather) as a valuable emancipatory tool for promoting communication across social, economic and cultural borders. It recommends further studies into its potential for raising and identifying sometimes controversial issues in a humorous manner and for uncovering collective solutions, particularly among marginalized communities and classes. Ultimately, the report points to Hooks’ “Practice of Love” as an overarching concept that can inform and transform activities designed to engage with and embrace diversity.
13
Horváthová, Anežka. "Možnosti podpory, prezentace a zachování kulturního statku "České loutkářství - lidové interpretační umění"." Master's thesis, Vysoká škola ekonomická v Praze, 2015. http://www.nusl.cz/ntk/nusl-205332.
Full textAbstract:
This thesis reflects the history and contemporary changes of Czech and Slovak puppetry and presents Czech and Slovak legislative framework preceding the inscription of the element on the Representative List of the Intangible Cultural Heritage of Humanity UNESCO. The practical part analyses the process of preparation and implementation of recognition of traditional puppetry as an intangible cultural heritage in the Czech and Slovak Republics and maps the joint efforts of these countries to inscribe the phenomenon on the Representative List of the Intangible Cultural Heritage of Humanity. Based on a questionnaire survey among viewers of puppet performances, puppeteers and general public, thesis outlines possible impacts of the eventual inscription of this element at the social, cultural and economic level.
14
Maunder, Paul Alan. "For example Rachel Corrie: the role of theatre in, and as, an activist project." Thesis, University of Canterbury. Theatre and Film Studies, 2007. http://hdl.handle.net/10092/982.
Full textAbstract:
Rachel Corrie was a young American woman who died at the age of twenty-three in Gaza in 2003. She was killed when an Israeli Occupation Force bulldozer ran over her while she was defending a Palestinian house from demolition. Her martyr's death, combined with the force of her descriptions of her experiences as an activist in Palestine, not only provoked response from other activists; it became material for a number of theatrical projects, among them productions by the Royal Court Theatre in London, Bread and Puppet Theatre in the US, and in a production I recently wrote and directed here in New Zealand. This thesis considers the example of Rachel Corrie's activism in Palestine and the theatrical performances it engendered in order to examine the role of theatre in and as an activist project. The theatre is an important component of the ongoing movement for social change. It assembles temporary communities and it portrays issues in ways that are both accessible and open to debate. But theatricality is just as often a key component of activist actions outside the theatre building: in street performances and demonstrations, and also in the way some activists can be seen to pursue their political objectives on a daily basis. Finally, the theatre is a material act of production which can challenge the dominant model of production and thus has the potential to be become an activist project as itself. As a result of my analyses of this material, I hope to provide a framework of understanding both for myself and others, of the likely role of theatre in and as an activist project, and this understanding will be of assistance in the cultural task of shifting beliefs in the movement for social change. The key theorists used in this thesis are Walter Benjamin and Raymond Williams.
15
Fraley, Chad David. "Design and Construction of the Audrey II Puppet Series for the Play Little Shop of Horrors." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etd/2030.
Full textAbstract:
This project's objective was to design and build 4 stages of the Audrey II puppet for the East Tennessee State University production of Little Shop of Horrors (Ashman, 1982). The puppets were to be created with consideration for the production space, budget, and operator ease, along with audience impact. This paper will present the design and construction in a step by step-bystep fashion using illustrations and photographic examples.
Each puppet in the series was originally conceived using references to living plants and animals combined with an artistic vision of the designer. The puppets were built with light, modern materials using new and traditional techniques for puppet construction. Construction techniques and materials resulted in light, maneuverable puppets that can be manipulated with ease and with high audience impact.
16
Laura, Joseph. "Rachel's Madcap Theater." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1929.
Full textAbstract:
This paper will cover the making of my thesis film Rachel’s Madcap Theater. I will break down all of the interdisciplinary aspects and collaborations with other artists that formed the final film: screenwriting, production design, directing, cinematography, sound, music, and special effects. For each of these categories, when appropriate, I will compare and contrast the changes made during the main stages of filmmaking: pre-production (all decisions made before shooting begins), production (all decisions made while shooting the movie), and post-production (all decisions made after shooting ends). I will then provide self-analysis of my process in order to judge both the ultimate success of my thesis film (did I make the film that I originally intended to make?) and the strengths and weaknesses of my personal abilities.
17
Zachry, Corinne. "CREATING PUPPETS THAT LIVE: AN EXPLORATION OF THEORIES AND TECHNIQUES IN MODERN PUPPETRY." Ohio University Honors Tutorial College / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1366906448.
Full text
18
Liepaitė, Lauryna. "Mitologiniai pasakos "Eglė žalčių karalienė" motyvai ir jų interpretacija Vitalijaus Mazūro lėlių teatre." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130805_101156-36944.
Full textAbstract:
Baigiamajame magistro darbe apžvelgiami pasakos „Eglė žalčių karalienė“ mitologiniai ir tautosakiniais niuansai, šią pasaką vertina kaip viena svarbiausių lietuvių ir daugelio kitų šalių mitą, kuris apima visą Dievų panteoną, pasakoja žmogaus, vandens ir žemės pradžios istoriją. Šis mitas glaudžiai susijęs su žalčio, kaip šeimos saugotojo ir globėjo kultu, todėl aptinkama daug skirtingų šios pasakos variantų ir tęsinių įvairių kultūrų mitologijoje. Remiamasi tik lietuvių autorių atlikta šios pasakos analize. Pagrindinė pasakos analizė skirta šios pasakos atsiradimo ir dominavimo įvairiose pasaulio kultūrose ir variantų gausumo problemai. Apsistojama ties mitologiniu „Eglė žalčių karalienė“ kontekstu, lyginant ją su kūrybiniam darbui pasirinkta pasaka „Dvylika brolių juodvarniais lakstančių“, nagrinėjant šios pasakos interpretaciją teatre remiamasi Vitalijaus Mazūro spektakliu „Eglė žalčių karalienė“ (2007).The myth overlooks entire Gods pantheon, talks about mankind’s, water’s and earth’s origin stories. This folk tale is valued as one of the most important Lithuanian myths which is as much valued in other countries, so the final paper of masters degree overlooks folk tale „Eglė the queen of serpents“ mythological and folk shadings. In mythological culture many other versions of this tale can be seen, that is because this myth is closely associated with serpents, as a family guardian cult. Only Lithuanian author’s analyses of the folk tale are used in this final paper. The main analyses of the folk tale are dedicated to analyze the folk tales origins and domination in many cultures of the world. Vitalijus Mazuras play “Eglė the queen of serpents” (2007) is used in other to analyze folk tales interpretation in theatre, while mythological context of the folk tale “Eglė the queen of serpents” is used in other to compare it with the tale “The Twelve Brothers, Twelve Black Ravens”.
19
Kline, Daniel. "Bringing Pocci's "Hansel and Gretel" to America a study and translation of a puppet show /." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1211208363.
Full text
20
Mills, Jonathan Charles. "Namiki Sôsuke (1695-1751), dramaturge de l’« âge d'or » du théâtre ningyô-jôruri." Thesis, Paris, INALCO, 2020. http://www.theses.fr/2020INAL0001.
Full textAbstract:
Namiki Sôsuke (également connu sous le nom de Namiki Senryû, 1695-1751) est considéré comme l’auteur principal des œuvres les plus célèbres de « l’âge d’or » du théâtre de ningyô-jôruri (théâtre de poupées) des années 1740. Les trois chefs-d’œuvre de ce théâtre, Modèle de calligraphie, la tradition secrète de Sugawara (1746), Yoshitsune aux mille cerisiers (1747) et Le Trésor des vassaux fidèles (1748) furent probablement écrits sous sa direction. Ses pièces ont fait l’objet de très peu de recherches en langues occidentales, et à ce jour, il n’existe aucune étude globale de son œuvre. Notre étude tente de combler cette lacune. Dans la première partie, nous examinons l’histoire de ce théâtre, les espaces de sa production et sa représentation, ainsi que les données biographiques sur Sôsuke. Dans la seconde partie, nous tentons, à travers l’analyse de ses œuvres, de cerner les spécificités principales des textes de ce dramaturgeNamiki Sōsuke (also Namiki Senryū, 1695-1751) is considered to be the principal author of the most popular works of the “Golden Age” of the 1740 ningyō-jōruri theatre (puppet theatre). Sugawara and the Secrets of Calligraphy (1746), Yoshitsune and the Thousand Cherry Trees (1747), and Chūshingura: The Treasury of Loyal Retainers (1748) were all written under his direction. There exists very little research on his work in Western languages, and to date there has been no comprehensive study of his oeuvre. This work attempts to fill the gap. In the first part, I examine the history of this theatre, the spaces of its production and representation, and the biographical data on Sôsuke. In the second part, I attempt to identify the principal features of this playwright’s work through analyses of his texts
21
Doe, Connor Bartlett. "Puppet Theater in the German-Speaking World." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/88.
Full textAbstract:
This work begins with a brief history of puppet theater in Germany. A look at important social aspects, pertinent philosophical discussions and the significance of puppet theater in the German literary tradition follow. The final chapter looks at Peter Schumann, a German puppeteer and artist who lives in America. In Germanistik, German puppet theater deserves a devoted place in the field of legitimate study in terms of its history, content and influence. Puppet theater's historical development in Germany represents the larger evolution of Germany. From ancient times up to the present day, this artistic form of representation has enjoyed an audience in the German-speaking regions. The evolution of puppet theater parallels Germany's quest for legitimacy as a nation and desire for cultural unification. A study of puppet theater thematizes the issue of popular cultural history. For most of its existence in Germany, puppet theater served as popular entertainment. The conception of folk art and folklore - which includes puppet theater - by the German Romantics led them to believe that folk artists possessed a mysterious authenticity inaccessible to Classicists and their narrowly-defined world of high art. Much German literature and thought from the 19th century onward shows a fondness for the Volk aspect of puppet theater. Puppet theater and its reception in German Romanticism helped to shape literary and philosophical themes that would lead to further recognition of puppetry as an art form and an integral aspect of German culture. In the 20th century, puppet theater took on bold new forms. Adapting to film, television, academia and the avant-garde, respected proponents of puppet theater brought the art form into the light of day. No longer did it merely consist of vulgar or mildly artistic street performances or as a vehicle for Romantic-era nostalgia. German puppet theater in the 20th century moved into the realm of mass culture with film and, more effectively, with television. It also gained footing in academia, eventually becoming a fully-recognized field of study as well as a performance medium with infinite possibilities. One can only hazard a guess as to where puppet theater will go in the future. The ability of the art form to uncannily reflect the human condition is well known. How the human condition will change and how the performers of puppet theater will respond remains to be seen.
22
Rezzouk, Aurélie. "Exposer le théâtre. De la scène à la vitrine." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040161.
Full textAbstract:
Pour qui, à quelles fins, et comment exposer le théâtre? L’approche muséologique se veut ici à la fois méthode d’investigation du champ théâtral et éthique du muséal, dont elle envisage les enjeux, les moyens et la portée. L’exposition d’objets de théâtre, vestiges, témoins ou empreintes de la scène, ordonnés dans un parcours et intégrés à un propos, interroge la nature de l’événement scénique et de l’événement théâtral. Elle donne à voir l’objet en instance de signification, sans toutefois l’y réduire. Elle joue, pour ce faire, des affinités autant que des tensions entre présence scénique et présence muséale; elle offre, en réponse, une vision du théâtre en son histoire, mais aussi comme processus de création et de réception. L’exposition participe des temps du théâtre pour le visiteur et le spectateur d’aujourd’hui: elle peut être pensée à la fois comme espace de manipulation, par l'expositeur et par le visiteur, de la matière théâtrale (espace, temps, objets et textes) et comme lieu d’une philosophie de la scène, orientée vers un théâtre à venir. Son mode discursif spécifique est de l’ordre du montage, du discontinu et de la polyphonie. Le visiteur s’y exerce à différents régimes scopiques et intellectifs sur des formes théâtrales passées et présentes, met à l’épreuve une pensée du théâtre au contact de l’objet et à celui d’autres pensées, celles des praticiens de la scène, celle de l’expositeurFor whom, to what end and how may theatre be exhibited? The museologic approach is meant to be both an investigating method of the theatrical field and a museum ethics, whose stakes, means and import it considers. Exhibiting theatre objects -- remnants, pieces of evidence or imprints of the stage -, arranged for display, and used as statements, questions the very nature of on-stage and theatrical events. It shows the object as becoming meaningful without confining it to its meaning. To such an end, it plays both on the similarities and tensions between being on stage and on display and it conveys, as a response, a vision of theatre as part of its own history but also as a process of creation and reception. The exhibition is a theatrical time in itself for today’s visitor and spectator: it can be thought of both as a place for the manipulation of theatrical material (space, time, objects and texts) and as one dedicated to a stage philosophy that looks into theatre as it could be in the future. Its specific discursive mode relies on montage, discontinuity and polyphony. It offers the visitor a chance to try different scopic and intellective regimes on present and past theatrical forms and to put theatre thinking to the test of the object itself and of other modes of thinking – those of stage practitioners and of the exhibitor
23
Stoessner, Jennifer Kathleen. "Building American Puppetry on the Jim Henson Foundation." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1211816560.
Full text
24
Deniger, Marcy M. (Marcy Marble). "An Ethnographic Study of the Use of Puppetry with a Children's Group." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc331542/.
Full textAbstract:
This study utilized an ethnographic methodology to examine and describe the various aspects and processes occurring in a children's group as the members created their own puppets and accompanying puppet plays. Individual and interactive behavior patterns were isolated and analyzed as a means of gaining an in depth understanding of the puppetry process. The puppetry process, in turn, was viewed in terms of information it provided regarding the individual members and the group process. The facilitative and non-facilitative aspects of the procedure were delineated. The adult leader met with a group of six boys, in grades four and five, for 12 one-hour sessions in which they made puppets and then created puppet plays around issues that they had articulated as problems. The group sessions were videotaped and transcribed. The transcriptions were coded in an effort to extensively analyze the puppetry process and the group process, and the ways in which the two processes interacted. An independent observer/rater was utilized in order to provide some validity for the researcher's reported results. The puppet-making task appeared to offer an opportunity for individuals to begin to come together in a common, but individual task. Characteristic styles and individual personality dynamics were evidenced. General response to the task was enthusiastic, with varying degrees of satisfaction expressed regarding their finished products. The play-creating and performing process met with less success than the puppet-making. While the group members appeared to be generally amenable to contributing ideas for the puppet plays, the process met with far more resistance in the cooperative task of putting their ideas into a finished product. The group discussion and interaction that occurred around these tasks provided a vehicle by which to view levels of interpersonal skills and the group's overall stage of development. The puppets the children created appeared to act as metaphors in expressing the group members' views of themselves and in enabling the symbolic representation of some of their central concerns. The plays they created paralleled the process that actually took place in the group. The subject matter and content of the puppets and plays provided information and evidence as to how each member approached and solved problems. The discrepancies in the ways in which the researcher and the independent observer/rater viewed the positive and negative social/emotional interactions of the group members, coupled with the small number of subjects included in this study preclude generalizing to other groups of children at this time. Further studies, with additional groups of children, utilizing parametric statistics are called for before any such generalizations can be made.
25
Hong, Huili, A. Gray, Karin Keith, and Edward J. Dwyer. "Enhancing Reader’s Theatre Through Puppetry." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/987.
Full text
26
Goncarovs, Sarah Beth. "[Re]animate a puppet theater workshop for Silver Spring /." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3306.
Full textAbstract:
Thesis (M. Arch.) -- University of Maryland, College Park, 2005.Thesis research directed by: School of Architecture, Planning and Preservation Architecture. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
27
Gorgati, Roberto Douglas Queiroz. "Arquiteturas do contato : desvios do corpo e do objeto no teatro de animação." Universidade do Estado de Santa Catarina, 2013. http://tede.udesc.br/handle/handle/1265.
Full textAbstract:
Made available in DSpace on 2016-12-08T16:51:58Z (GMT). No. of bitstreams: 1
ROBERTO.pdf: 518630 bytes, checksum: fbfef8edee4d11a7fc02ede4ec399772 (MD5)
Previous issue date: 2013-03-08Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This research discusses the relashionship between body and objects in the Puppet Theatre. To think about these direct and tactile relashionships whith materials and objects, is to think about the act of animation. This act is more than simulation of life in one inanimated object, animation is also transformation. Body and object have their physical and metaphorical caracteristics changed when are in contact. The present research is about these changes and how they can happen. One question of this research is about how body and others materials works in tactile contact. The current research is based in texts where the proximity between body, objects, materials and space creates contact images. This contact, reveals qualities perceived only by touch, creating one space of tactile interactions between human body and other external materials. The concepts that are discussed in this text, emerges from this moment: the moment of interaction between body and object
A presente pesquisa tem como objetivo levantar questionamentos sobre as relações entre corpo e objeto no Teatro de Animação. Pensar nessa relação direta, tátil com os materiais, é pensar também que tal relação não se limita apenas ao ato de simular vida em um objeto inanimado. Corpo e objeto têm suas características físicas e metafóricas reelaboradas quando estão em contato e é refletindo sobre tais alterações e mudanças, que esta pesquisa se desdobra. Como o corpo e o objeto se modificam nesse diálogo tátil, é uma das questões presentes. Os questionamentos levantados sobre como corpo e objeto atuam na transformação um do outro, nessa pesquisa, se dão a partir de reflexões sobre textos que suscitam imagens onde o contato entre corpos, objetos, materiais e espaço é a matriz das relações. O contato entre corpo e objeto revela qualidades que a distância não podem ser percebidas e é desse momento, desse espaço de interações táteis entre corpo humano e outros materiais considerados externos, que emergem os conceitos discutidos
28
Tribble, Keith Owen. "European symbolist theater : conventions and innovations /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/6647.
Full text
29
Ratet, Jennifer. "Du littéraire au marionnettique : réécritures de textes littéraires sur la scène marionnettique contemporaine." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30052.
Full textAbstract:
Une part conséquente de la production marionnettique puise sa matière dans des textes-sources issus de la littérature. Je me suis interrogée sur ce qui distingue ces spectacles de marionnettes des « créations originales ». Cette contribution se veut une analyse des rapports entretenus entre les données textuelles et leurs réappropriations scéniques d’un point de vue technique, thématique et esthétique. Son objectif de recherche est de déterminer s’il existe une poétique de la réécriture du littéraire par le marionnettique. J’ai d’abord construit un corpus de spectacles avec pour critères d’inclusion l’utilisation d’un texte-source ainsi que la date et le lieu de création : XXIe siècle en occident. J’ai ensuite récolté des données par le biais d’analyses de spectacles marionnettiques et d’échanges avec des praticiens de le marionnette. J’ai enfin structuré l’articulation de notre réflexion qui se développe autour des trois axes suivants : les opérations de modifications apportées au texte-source visant à résoudre les contraintes techniques et narratives, les modes et les modalités d’expression marionnettiques narrativement actifs et les dynamiques interactives qui font du présent scénique une source d’enjeux en termes de narrationA significant part of puppet production draws its material from source-texts from literature. I asked myself what distinguishes these puppet shows from «original creations». This contribution is an analysis of the relationship between textual data and their scenic reappropriation from a technical, thematic and aesthetic point of view. Its research objective is to determine if there is a poetics of the rewriting of the literary by puppetry. I first built a corpus of shows with the inclusion criteria of the use of a source text as well as the date and place of creation: 21st century in the West. I then collected data through analyses of puppet shows and exchanges with puppet practitioners. Finally, I have structured the structure of our reflection around the following three axes: the operations of modifications made to the source-text in order to solve technical and narrative constraints, the modes and modalities of narratively active puppet expression and the interactive dynamics that make the present scene a source of matters in terms of narration
30
Salmon, Mary Dwight. "Script training with storybooks and puppets a social skills intervention package across settings for young children with autism and their typically developing peers /." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1124238875.
Full textAbstract:
Thesis (Ph. D.)--Ohio State University, 2005.Title from first page of PDF file. Document formatted into pages; contains xvii, 326 p.; also includes graphics (some col.). Includes bibliographical references (p. 236-244). Available online via OhioLINK's ETD Center
31
Kor, Yanna. "Les Théâtres d’Alfred Jarry : l’invention de la scène pataphysique." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30031.
Full textAbstract:
Associé tout d’abord au cycle Ubu, Alfred Jarry garde une position relativement marginale dans les études du théâtre français de la fin du 19e siècle. Etudié soit dans le cadre de la dramaturgie de l’époque soit comme un précurseur de l’avant-garde théâtrale, il reste l’homme de lettres passionné par le théâtre de marionnettes. Ce travail part de l’ambition de mettre en lumière un autre Jarry, l’homme de plateau, le marionnettiste dont les œuvres littéraires sont guidées par la pratique théâtrale. Une première partie analyse le modèle théâtral de Jarry dans le champ des arts de la scène de l’époque, le théâtre d’acteurs d’une part et le théâtre de marionnettes d’autre part. Une deuxième partie s’interroge sur la poétique jarryque de la perspective théâtrale, montrant comment l’esthétique de guignol et de théâtre d’ombres guide sa démarche littéraire. Cette approche reçoit le nom de « scène pataphysique » : un système qui permet à l’auteur de vivre artificiellement à l’intérieur de son œuvreKnown first of all as an author of the Ubu cycle Alfred Jarry remains relatively marginal figure in the French fin-de-siècle theatre studies. Studied as the play writer or as the precursor of the avant-garde theatre, he is seen as a man of letter who was passionate about puppet theatre. This work aims to valorise another Jarry, the man of the stage, the puppeteer whose literary works were influenced by the theatrical practice. Part One analyses Jarry’s theatre model in the field of the fin-de-siècle theatre, the living actors’ scene and the puppet theatre as well. Part Two focuses on the Jarry’s poetics, showing how the puppet and shadow theatre aesthetics guide his literary strategy. This approach receives the name of “pataphysical scene”: a system that allow the author to live artificially inside his work
32
Gossett, Neeley. "Puppets, politics, and postmodernity : Paula Vogel speaks through theater history /." Electronic version (PDF), 2006. http://dl.uncw.edu/etd/2006/gossettn/neeleygossett.html.
Full text
33
Ballay, Jean-François. "Disparition de l'homme et machinerie humaine sur le scène contemporaine. Denis Marleau, Heiner Goebbels, Jean-François Perret." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030116.
Full textAbstract:
L’acteur est-t-il l’objet d’une nouvelle mise en cause radicale, un siècle après Maeterlinck, Jarry et Craig ? La discussion prend aujourd’hui une tournure inédite. Il ne s’agit plus d’écarter l’homme de la scène pour le remplacer par une marionnette idéale. Les acteurs artificiels, avatars, robots et autres doubles, semblent désormais pouvoir devenir autonomes. La question n’est pas seulement : qu’est-ce qui manque, lorsque l’acteur manque ? Mais aussi, qu’est-ce qui ne manque pas ? Pour étudier ce sujet, cette thèse s’appuie sur trois œuvres qui ont fait événement à l’orée du XXIe siècle : Les Aveugles de Denis Marleau, Stifters Dinge de Heiner Goebbels, et Re : Walden de Jean-François Peyret. Elle introduit la conjecture anthropologique d’une « disparition » de l’homme. Expression problématique, qui est à entendre de prime abord au sens d’un retrait ou d’une instrumentation de l’acteur, mais qui sous-tend en arrière-plan d’autres enjeux : brouillage des frontières entre vivant et artificiel, perte du lien au monde, déclin de l’humanisme, effondrement écologique. Si l’homme devait disparaître, c’est peut-être au théâtre qu’il résisterait le plus longtemps à sa disparition. Mais la proposition peut s’inverser : n’est-ce pas là qu’il ne cesse de s’effacer avec le plus d’ostentation, jouant depuis toujours avec les oppositions apparence / réalité, apparition / disparition ? La thèse explore ces problématiques, en s’intéressant aussi bien à la scénographie, à la dramaturgie, à la relation acteur spectateur, et aux nouvelles machines qui transfigurent le dispositif scénique en une anamorphose visuelle, sonore, éminemment troublante, de l’être humain en train de disparaîtreIs the actor thrown back into doubt again, one century after Maeterlinck, Craig and Jarry ? The topic happens to be brought up to date. But the purpose is no longer to get rid of the actor, so that he could be replaced by puppets. Artificial actors, like avatars, robots and other doubles, are likely to get their autonomy soon, on stage. The question is not only : what is missing, when the actor is missing ? But also, what is not missing ? This thesis is based upon three performances that stroke the minds on the first decade of the 21st century : Les Aveugles by Denis Marleau, Stifters Dinge by Heiner Goebbels, and Re :Walden by Jean-François Peyret. Our conjecture is about human disappearing on stage, with a special focus on anthropological aspects. The notion of « disappearing » means, at first sight, the withdrawing of actors, but we show that other deep challenges stand in the background : body instrumentation, interferences between life and artificial, disconnection to the phenomenal world, mankind decline and ecological disasters. If the human being is supposed to disappear soon, it’s probably on theatre stage that he will stand for a while. At the same time, isn’t it on stage that he has been playing for ever with appearing and disappearing, reality and illusion ? This thesis explores these problems, dealing with all the aspects : scenography, dramaturgy, actors and spectators, technology and new machines that are completely transforming the stage into a visual, sound, and highly confusing anamorphosis, by which the human being is involved in a vanishing process
34
Stock, Marel Angela. "Puppets, Pioneers, and Sport: The Onstage and Offstage Performance of Khmer Identity." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2944.pdf.
Full text
35
Lessing, Petronella. "'n Ondersoek na die integrasie en wisselwerking van die betekenisdraende elemente in poppeteater." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2453.
Full textAbstract:
Thesis (MDram (Drama))--University of Stellenbosch, 2009.AFRIKAANSE OPSOMMING: In hierdie navorsing word gepoog om die betekenisdraende elemente van poppeteater, naamlik beweging, klank en ontwerp van naderby te ondersoek om vas te stel in watter mate al drie elemente onmisbaar is al dan nie en hoe hierdie elemente op mekaar inspeel. Die semiotiek van beide teater en poppeteater word as agtergrond en teoretiese basis vir die ondersoek bespreek. Binne hierdie elemente word verskillende kernaspekte ondersoek waaronder distorsie, oordrywing en die dubbele aard van die toneelpop as lewelose objek met ‘n verbeelde lewe. In hierdie deel van die studie word daar ook na verskillende soorte tekens gekyk, naamlik die indeks, die simbool en die ikoon. Daar word bevind dat hierdie tekens saam ‘n dubbele verskuiwing in doel kan ondergaan naamlik van teken na verwysde, en van verwysde na nuwe tekens. Hierdie verskuiwings vind in die teater, sowel as poppeteater plaas. Ontwerp, beweging en klank word afsonderlik bespreek om die aard, rol en moontlike dominansie van elkeen te bepaal. Poppeteater maak staat op die gehoor se verbeelding en gewilligheid om die toneelpop ‘n verbeelde vorm van lewe te gee. Díe siening van die toneelpop, as beide lewelose voorwerp en ‘n verbeelde vorm van lewe, staan bekend as dubbele visie. Dubbele visie kan egter nie alleen binne die poppeteater funksioneer nie, en die verskillende elemente moet saam met die gehoor se dubbele visie ingespan word om die boodskap van die poppespel oor te dra. Beweging verlewendig die toneelpop deurdat dit die illusie van lewe en die sogenaamde dubbele visie ondersteun. Verskillende toneelpoppe word verskillend beheer en geartikuleer, elk met sy eie betekenisse wat hy deur middel van beweging oordra. Daar is bevind dat klank die enigste element is waarmee weggedoen kan word in ‘n toneelpopproduksie. Terselfdertyd kan dit ook nie afsonderlik van beweging en ontwerp funksioneer nie. Wanneer klank wel gebruik word, funksioneer die hoofveranderlike kenmerke van klank soos toonhoogte, volume, tempo, infleksie, uitspraak en ritme in die oordraging van die boodskap. Die navorsing toon dat toneelpoppe nie gebonde aan realiteit is nie, en as gevolg hiervan kan die ontwerper die toneelpop maak sonder dat dit realisties hoef te wees. Ontwerp as ‘n element bepaal ook die kwaliteit en kwantiteit van toneelpoppe, sowel as die aanwending van ander ontwerp-elemente soos kleur, tekstuur, materiaal en die grootte van die toneelpop. Poppeteater is nooit ’n blote nabootsing van ’n mens of dier nie. Poppeteater kan daarom in nabootsende en konseptuele poppeteater verdeel word. Verwringing kom in beide nabootsende en konseptuele poppeteatervorme voor, hoewel tot ‘n mindere mate in nabootsende poppeteater. In konseptuele poppeteater word daar op die gehoor gesteun om die tekens wat dit ontvang korrek te interpreteer. Die betekenisdraende elemente werk saam om die boodskap suksesvol oor te dra. Klank en beweging werk saam om karakterisering te skep; so ook klank en ontwerp. Elemente kan wel afwisselend gebruik word. Die samewerking tussen beweging en ontwerp lei tot uitvoerbare beweging. Alhoewel daar met klank as ‘n element weggedoen kan word, is dit dikwels nie ideaal nie.
ENGLISH ABSTRACT: The aim of this study is to closely examine the meaning-bearing elements of puppet theatre, namely movement, sound and design to determine to what extent all three is indispensable to the puppet theatre or not, and how elements work together. The semiotics of both theatre and puppet theatre is discussed as a background and a theoretical basis for the study. Within these elements different key elements are examined, such as distortion, over-exaggeration and the double nature of the puppet as a lifeless object with an imagined life. In this part of the study different types of signs, namely the index, symbol and icon are looked at. It is found that these signs can undergo a double shift in purpose, namely from signs to referred and from referred back to signs. These shifts occur in both theatre and puppet theatre. Design, movement and sound are separately discussed to determine the nature, role and possible domination of each. Puppet theatre relies on the audience’s imagination and willingness to give the puppet an imagined form of life. Seeing the puppet as both a lifeless object and an imagined form of life is known as double vision. Double vision cannot function alone within the puppet theatre and the different elements have to work with the audience’s double vision to convey the message of the performance. Movement enlivens the puppet by supporting its illusion of life and so-called double vision. Different puppets are differently manipulated and articulated, each with its own meaning, conveyed by the movement. It is found that sound is the only element that can be disregarded in a puppetry production. At the same time it cannot function separately from design and movement. When sound is used, the main variables of sound like pitch, volume, speed, inflection, pronunciation and rhythm functions in conveying the message of the production. The research shows that puppets are not bound to reality and thus the designer can make the puppet without it having to be realistic. Design as an element also determines the quality and quantity of the puppets, as well as other design elements such as colour, texture, material and the size of the puppet. Puppetry is never a mere imitation of a human or an animal. Puppetry can therefore be divided into imitative and conceptual puppetry. Distortion is seen in both imitative and conceptual puppetry, although less so in imitative puppetry. In conceptual puppetry the audience is relied upon to interpret the signs that it receives correctly. The meaning-bearing elements work together to convey the message successfully. Sound and movement work together to create characterisation, as does sound and design. Elements can also be used alternatively. The co-operation between movement and design leads to practicable movement. Although sound as an element can be done away with, it is often not ideal.
36
Fisler, Benjamin Daniel. "The phenomenology of racialism blackface puppetry in American theatre, 1872-1939 /." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/2464.
Full textAbstract:
Thesis (Ph. D.) -- University of Maryland, College Park, 2005.Thesis research directed by: Theatre. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
37
Ilari, Mayumi Denise Senoi. "Teatro político e contestação no mundo globalizado: o Bread & Puppet Theater na sociedade de consumo." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-14052008-134439/.
Full textAbstract:
Criado na cidade de Nova Iorque no início dos anos sessenta, o Bread & Puppet Theater estabeleceu-se em meio à vanguarda artística norte-americana do século XX, tornando-se célebre nas apresentações e paradas de rua em protesto contra a guerra do Vietnã. Quatro décadas de teatro mais tarde, em plena guerra no Iraque, o grupo dirigido por Peter Schumann, agora radicado em Vermont, prossegue com seu teatro de papel-maché, em protesto contra os impérios vis e injustos do mundo globalizado. Esta pesquisa compara o espetáculo Portões do Inferno, último \"Circo de Ressurreição Doméstica\" (1998), espetáculo anual apresentado a dezenas de milhares de pessoas, a O Mundo de Pernas para o Ar, uma nova versão do Circo - \"Circo de Insurreição do Primeiro Mundo\" (2004), analisando relações entre forma e história. Observaremos que, em nossa atual civilização, fundada na lógica da mercadoria, na comercialização da arte, na espetacularização da vida (no sentido debordiano), e no embrutecido e fragmentário deslumbramento pós-moderno frente aos mesmos paradigmas exaltados como inovações (ou no esmaecimento do afeto, na expressão de Jameson), o teatro histórico, épico e dialético do Bread and Puppet segue resistindo efetivamente, na contramão da sociedade de consumo, na insurreição contra o mundo globalizado, a insurreição \"da mente contra a supremacia do dinheiro e a insurreição de toda a alma do teatro de bonecos contra a estupidez do maravilhamento pós-moderno\".Originated in the city of New York in the 1960s, the Bread & Puppet Theater established itself amidst the North American artistic vanguard of the 20th century. It was especially known for its demonstrations and protests against the Vietnam war. Four decades later, during the Iraq war, the group leaded by Peter Schumann, now established in Vermont, continues with their papier-maché theater, demonstrating and protesting against the evil and unfair empires of the globalized world. This study compares Gates of Hell (1998) - the final \"Domestic Resurrection Circus\"- an annual show presented to thousands of people, to Upside Down World - a new version of the circus called \"First World Insurrection Circus\" (2004) - analyzing the relationships between form and history. The analysis reveals that in our current civilization, which is largely based on the logic of commodities, in the commercialization of art, in the \"spectacularization\" of life (in debordian sense) and in the brutalized and fragmented post-modern wonderfulness, which presents and glorifies the same paradigms as innovations (or in its waning of affect, in Fredric Jameson\'s sense), Bread and Puppet\'s historical, epic and dialectic theater effectively resists, going the opposite direction of consumer society, in the insurrection against globalized world, the insurrection \"of the mind against the supremacy of money and the insurrection of the whole soul of puppetry against the stupidity of post-modern wonderfulness\".
38
Zefferino, Melanie. "Dramatic figures in the Venetian Republic : performance, patronage, and puppets." Thesis, University of Warwick, 2014. http://wrap.warwick.ac.uk/69994/.
Full textAbstract:
This study offers new insights to the knowledge of Venice`s history and theatre historiography. It is the outcome of an interdisciplinary research investigating the visual and performative culture of this unique context though its representations with dramatic figures from the beginning to the end of its history as a republic. The first chapter offers an insight into Medieval Venice focusing on liturgical drama, mystery plays, and civic ritual with display of movable sculptures and puppets. The second chapter sheds light on the relation between puppetry, the commedia, and different forms of spectacle with mechanised or indirectly controlled figures. Presented in the third chapter are the theatrical festivals with wondrous figures that were staged in the outskirts of Padua by two illustrious patrons of the arts, the Paduan Pio Enea II degli Obizzi and the Venetian Marco Contarini. The fourth chapter is dedicated to the debut of puppet opera, and the performances of this genre that were staged in the private and public theatres of Venice during the seventeenth century. The history of puppet opera in Venice continues in the fifth chapter, also making comparisons with performances held in cultural areas that absorbed the Venetian legacy. Critical analysis of the repertory of puppet theatre broadly defined and reflection on the aesthetics and operating techniques of the figures that were used has been made relating texts to specific objects, many of which are unpublished or little known. Shedding light on the Venetian eighteenth century marionette theatres that are extant, attention has also been drawn of the role that these objects played in the history of collecting. In the sixth chapter the chronological account is suspended for a moment to leave room for some reflection on the intertwining between Venice and the Orient based on research findings. Cross-cultural analysis has been made comparing Venice’s puppet theatre traditions not only with those of the near East, but also with China based on material evidence. The seventh and last chapter investigates the relation between puppet theatre and the rising passion for views of the world as a stage, or animated microcosm to capture through observation. There is inevitably much overlap across all these aspects, and yet attempts have been be made to keep them separate in the discussion, either relating them to the time related phenomenon within which they assume greater significance. Following a chronological thread, critical analysis of the puppet theatre manifestations originating in Venice has been carried out placing this genre within the frameworks of other arts, drawing comparisons with other traditions, and bringing to the fore reminiscences from the past at different times in history. All this making every possible effort not to turn the memory of an entertaining art form into the sterile analysis of its ‘faint reflection’.
39
Curtis, Richard A. "People, poets, puppets: popular performance and the wong cilik in contemporary Java." Curtin University of Technology, School of Social Sciences and Asian Languages, 1997. http://espace.library.curtin.edu.au:80/R/?func=dbin-jump-full&object_id=11257.
Full textAbstract:
Many studies have analysed the ways in which the dominant forces of state and capital are shaping contemporary Indonesian political economy, social relations and cultural production. More and more of such studies have evaluated the significance of the "middle class(es)" as a burgeoning social force. Few studies specifically address the social agency of the subordinated classes, the bulk of Indonesia's population, identified as the wong cilik in this study. Only recently have some scholars begun to take seriously the rapid formation of an urban working class as an increasingly important component in Indonesian social dynamics. An underlying assumption of this study is that cultural production, in particular, popular performance, is an important window on, and component of, wong cilik social agency. This assumption is pursued by observing three principal sites of cultural contestation, poetry, the shadow play, wayang kulit, and "modem" theatre. These three, often overlapping sites, are set within a broad survey of popular performance in Java, followed by a regional focus on Tegal, located on the north west coast of Central Java.A bias in analysis towards the more formal and visible aspects of cultural production, such as performance text and conventions, has led to a distortion and insufficient recognition of wong cilik social agency. The first task of this study, therefore, is to develop a better approach to identifying and evaluating wong cilik cultural agency. The approach for which we are looking demands attention be given to the less formal aspects and social context of popular performance. Here, the relationship between performance and audience is central to identifying the cultural agency of the wong cilik. Depending on the surrounding social relations which constitute the performance, space can exist for wong cilik control over cultural production and meaning ++through audience participation.During the course of a performance the social significance of its changing nature is closely associated with changes in audience composition and involvement. An absent, indifferent, sometimes hostile, wong cilik audience can undermine the potential of formal moments to reinforce dominant ideologies and social relations. Conversely, heightened audience participation often characterises the informal moments of a performance. The possibility of social potency is greatest in these moments of close affinity between wong cilik audience and performance. This is apparent in the relationship between audience and dalang (puppeteer) in many local performances of wayang kulit. The informal 'comic interlude', in particular, can provide opportunity for the articulation of shared meanings and concerns between the predominantly wong cilik audience and sympathetic dalang, dependent on their patronage and coming from a similar socio-economic background.As part of the intelligentsia, the dalang, as with other cultural workers, has an important, often ambiguous, role in determining the significance of cultural production for the wong cilik. Here, it is important to recognise that the cultural workers, themselves, and their performances are socially constituted. In a study on theatre in Tegal observations of audience participation assist greatly in evaluating the effectiveness or sincerity in representing or asserting wong cilik sentiment in "modern" theatre and populist wayang mbeling. In general, this focus on audience participation helps situate popular performances in their surrounding social relations. This approach helps avoid elitist or essentialist tendencies that may occur from an over emphasis on the idealised characteristics and conventions of cultural forms or genres.
40
Solberg, Ragnhild S. "Playing Puppets : Agency, Immersion, and the Fictional Realities of Sabbath’s Theater and Portal." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for språk og litteratur, 2013. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-24132.
Full text
41
Lerman, Mark J. "MOBILE ENCHANTMENT: THE VIRGINIA THEATRE MACHINE LLC, A NEW TWIST ON DRIVE-IN THEATRE." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5337.
Full textAbstract:
A disassembling of the Virginia Theatre Machine (VTM), LLC and its annual restaging of an adaption of Charles Dickens’ novella, A Christmas Carol. The VTM is a custom-built trailer theater that combines the performance energy of street theater with the magic and wonder of a fully designed theatrical production. I provide a historical context for this 21st century revising of mobile theater that switches the paradigm of the traditional theater experience by bringing the stage to audiences, for free. I draw from critical social and cultural theory to make sense of the audience impact in public and private outdoor spaces. I examine how each new performance environment brings its own resonance to bear on the wonder of the presentation at hand. I present the VTM as an alternative business model and form of theater outreach to inspire a new generation of theater-makers to rethink the traditional constraints of producing theatre.
42
Huang, Yu Ting, and 黃鈺婷. "Research on Hakka Puppetry – Shan Puppet Theatre as an Example." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/n73jj9.
Full textAbstract:
碩士國立新竹教育大學
音樂學系碩士班
102
This study aims at exploring the existence and operation of Hakka Puppetry in modern society. In the scope of the study, it targets a developing Hakka Puppetry - Shan Puppet Theatre as the main subject. Being applied the methods of fieldwork, participant observation, interview, surveys and data analysis, the study investigates Hakka Puppetry music, repertory, the process and the content of performance, and the contextual denotation of cultural environment. Five Chapters are included in this research. The first Chapter, Introduction, mainly described the motivation and purpose of the author, and the methods applied in this research. Secondly, Chapter Two probed the background and the development of Hakka Puppetry by reviewing relevant literatures of Puppetry and Hakka traditional performance. In accordance with these two types of traditional cultural backgrounds and features, the research attempted to integrally examine possible reasons that are formed Hakka Puppetry. Furthermore, in order to comprehend the practical situation, the author recorded and described Shan Puppet Theatre by the means of music ethnography shown in Chapter Three. Two parts of music ethnography, teaching and performing, are utilized. With regard to the teaching part, the study conducted two different teachings styles by doing surveys so as to investigate the inner aspects. The performing part, on the other hand, is to generalize its content and manner owing to observe the applied innovation and variation. In Chapter Four, it analyzed scripts and music in light of types of the scripts and the diversity of performance by the actual performance. Besides, the author tried to generalize the rules embedding in modes and features of Hakka music. Finally, the conclusion made in Chapter five points out the development, promotion, attempt, innovation, and current situations of Shan Puppet Theatre, which will be the reference and suggestions for future follow-up studies.
43
Liu, Yentzu, and 劉晏慈. "A Study of the intercultural Theatre Presented By Taiyuan Puppet Theatre Company." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/69436232146356550359.
Full textAbstract:
碩士國立臺灣藝術大學
戲劇學系
100
Taiyuan Puppet Theatre Company was established in 2000, which exclusively belonged to Lin Liu-Hsin Puppet Theatre Museum. Numerous performances have accumulated over the years. The company performs traditional puppet while finding new and creative ways to further enhance the beauty of this traditional art. The thesis analyzed Taiyuan Puppet Theatre’s current approaches and the performances of intercultural adaptation, theory and performance achievements include promotion of local characteristic, international collaboration performances, and Innovation of creative performance ability. To examining the performances from Taiyuan Puppet Theatre Company based on Richard Schechner’s intercultural theory from “Performance Studies”, supplemented by Pavis Partice’s theory. The researcher analyzed the great diversity of intercultural performances by the theory of Taiyuan Puppet Theatre Company,attempts to conclude from the creator’s concept and interpretation and to view whether the performance itself incorporate functions of entertainment along with drama education. Discovered Taiyuan Puppet Theatre Company’s distinctive style of creativity in addition to integrate from objective aspects of previous performances and to deliberate how they find new and creative ways to enhance the new look through intercultural performance. By this thesis, the researcher hopes to bring people’s attention to the research and discussion of Taiwan’s modern puppet theater.
44
Lin, Li-Lun, and 林莉倫. "The female puppet master Jiang Si Mei and the study of her puppet theatre company." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/57469933126922315751.
Full textAbstract:
碩士國立臺北教育大學
台灣文化研究所
98
This thesis is mainly about the life story of the first generation of female puppet master in Taiwan—Jiang Si Mei, and the development history of Si Mei Building puppet theatre company founded by Jiang Si Mei. The thesis includes six chapters, introduction, the historical and cultural aspects of Taiwanese puppet show, the leading character of Taiwanese puppet theatre company—the puppet master, the leading lady in the theatre world—the first female puppet master, Jiang Si Mei, “Like mother, like son”—True Happiness puppet theatre company and New Happiness puppet theatre company, and the conclusion. The first chapter is introduction, contains the motives and object of the research, research methods, references review, and the arrangement of each chapter. The chapter is mainly to elaborate the basic structure of the thesis. The second chapter is the historical and cultural aspects of Taiwanese puppet show, including the historical background, the cultural characteristics and present situation, as well as the cultural phenomenon. This chapter explains how puppet show has transformed and evolved after transferring to Taiwan. The third chapter is the leading character in Taiwanese puppet theatre company—the puppet master. It introduces the puppet master in Taiwanese puppet theatre company, how to bring up a puppet master, and how does a puppet master devise a strategy. This chapter helps to better understand the puppet master in a puppet theatre company and illustrate the importance of the role. The fourth chapter is the leading lady in the theatre world—the first female puppet master, Jiang Si Mei. It introduces her individual background, her career track, her glory times and her trial along the process. Through an in-depth interview, we understand how a female puppet master learned to control her own destiny in a puppet show industry surrounded by male peers. The fifth chaper,“Like mother, like son”—True Happiness puppet theatre company and New Happiness puppet theatre company. It introduces the operation of the puppet show theatre company, the conflicts between tradition and modern, the fusion of tradition meets innovation, and the cultural heritage of the puppet show theatre company. Through an in-depth interview, we discover the three-generation puppet show theatre company have created a stage of conflict and integration, and have found a balance between old and new, tradition and modern, which can be a great inspiration for other puppet show theatre company of today. The sixth chapter is conclusion, it gives a generalized summarization of the thesis, and provides viewpoint of the development of Taiwanese puppet show nowadays. Hopefully, the old puppet masters can successfully passed their craft on to the next generation.
45
"Vietnamese Water Puppet Theatre: A Look Through The Ages." TopSCHOLAR, 2009. http://digitalcommons.wku.edu/stu_hon_theses/205.
Full text
46
洪文駿. "A study on marketing strategies for PiLi puppet theatre." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/89167053421184096303.
Full text
47
Chen, Long-ting, and 陳龍廷. "A Study of Oral Literature in Taiwanese Puppet Theatre." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/65089267573994920569.
Full textAbstract:
博士國立成功大學
台灣文學研究所
94
This thesis, composed of seven chapters, will explore the oral tradition of puppet theatre (po-te-hì) in Taiwanese. A great deal of effort has been made on Taiwan’s puppet theatre. What seem to be lacking, however, is to understand its problem of language, especially its aspect of oral performance. The puppet theatre is one of traditional folklores, which were once assumed to inevitable decline in Taiwan. It is a miracle that the puppet theatre unceasingly survived and presented Taiwan as a result of the icon election. The campaign “Show Taiwan to the World” launched last year (2005) by the Government Information Office, it consisted in asking Taiwanese citizens to vote on which of 24 different images most distinctively symbolize Taiwan. With some 780,000 people voting, an image depicting the folk art of glove puppetry has emerged as the top choice of the people, garnering over 130,000 votes. It is interesting to note that the main process of Taiwanization in the puppet theatre developed from a form of local entertainment to symbol of national identity. Based on the reflection of the process of oral-aural in folk literature, we will discuss the formula, type-scene, and improvisation of performance-texts that I transcribed from puppet theatre’s recordings. This study can help the Taiwanese rediscover the oral literature of which they can feel proud. The chapter one is the introduction of motive, purpose, content and method, and narrates the development and circumstance of the puppet, and sum up forefathers’ research achievements. The chapter two presents an historical overview of the aesthetic transformations of Puppet Theater in Taiwan. We will begin by considering the concept of “Taiwanization” that includes the historical development and the social phenomena of puppet theatre. There is fairly general agreement that the glove puppet theatre was originated about three hundreds years ago in Hok-kiàn province, China. The local theatre can be reasonably dated from the early years of the 19 th century. In the beginning, it is possible that the majority of puppet operators in Taiwan were formerly with the Hok-kiàn opera troupes and left to join the puppet theatre. The music of the glove puppet theatre consists of different vocal melody and speech types as well as percussion music, each associated with different dramatic function. According to these music styles, there are three main tradition or “schools” of glove puppet theatres in Taiwan: lâm-kóan, peh-ji-á and tiô-tiäu. In the early years of the 20 th century, the musicians of pak-kóan created the new tune for puppet theatre. The new style of music is more and more fashionable, which characterized by simple and variety. This tendency provided the more powerful and more improvisational performance. So far, we have seen that puppet theatre more and more use tape recorders and phonographs and changed their performance style from quasi-opera into the narrative. The chapter three will discuss the linguistic investigation of puppet theatre. First of all, it will explore the vernacular consciousness of puppet theatre. Secondly, it will analyze and discuss the relation among the social change from “immigrant society” to “native society”, the accent boundary, and the performance of puppet. At last, it will analyze the problem of orality and literacy of puppeteer’s oral performance. The chapter four will study the “formula” of puppeteer’s oral performance, which is an expression regularly used, under the same metrical conditions, to express an essential idea. We will deal with the traditional mode of expression, the fundamental structure of puppet theatre, two categories of formula, variation and possibility of creation. The chapter five will discuss these themes of puppet theatre. First, we will consider the concept of “type-scene” or “theme” that is fairly general agreement its definition as a plastic compositional unit. And then, it will dwell on three important themes of puppeteer’s oral performance: the civil theme, the fighting theme and the quarrel theme. The chapter six will analyze the comedic theme (chhiò-khoe-hì) of puppeteer’s oral performance. We will begin by discuss two aspect of comedy: the comedy of word and the comedy of situation, and analyze many examples of puppet theatre. The chapter seven will conclude with a recapitulation of entire thesis and the direction for future study, reflections and expectations. At last appendix, we will list a table of vowel sound and consonant in Taiwanese, and a text-performance of œg Chùn-hiông’s puppet theatre that I transcribed.
48
Tsai, Chieh-yun, and 蔡杰芸. "Anaysis of Four Scripts by the Hehsing Shadow Puppet Theatre." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/56046699506836470634.
Full textAbstract:
碩士國立成功大學
藝術研究所
97
Taiwan Hehsing Shadow Puppet Theatre was suspended to perform in 2007, and possessed the cultural relics to the Kaohsiung County Shadow Puppet Museum to be reserved. At present the official website photoed or the scaned the cultural relics to the phantom files. However, the readers still cannot understand the scripts as well, because of lacks of clear explanation and definations. This article gathers four scripts of the Hehsing Shadow Puppet Theatre: "The Golden Tortoise", "Second Bloom of Plums", "Di Qing suppressed the West", "Nine Swords" and rearranges the form with vulgar table to explain the meanings. The research is organized as follows: Chapter 1 presents the development processes of Taiwan Shadow Puppet; Chapter 2 briefly states the writing techniques of scrips with the names of the tunes, marks, roles and plots; and Chapter 3 explores the relationships and actions of structures, conflicts and plots; Chapter 4 takes the main thought and the character portray as the major category. The functions and actions of communication are descripted from the dialogue, monologue and Off-Screen points of view. To sort out the scrips can reduce the wear of cultural relics and spread scripts freely, provides the scholarly research to discover different viewpoints. Hoping that in the future will have more cultural relics to be rebuilt in the forms of typescript or phantom, and it will be the significant contributions.
49
CHEN, HSIN-YUAN, and 陳信源. "A Study on Marketing and Future Development of Puppet Theatre." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/23q5wa.
Full textAbstract:
碩士環球科技大學
中小企業經營策略管理研究所
107
“Pili puppet Entertainment” is one of the best culture industry in Taiwan, it`s not only show Tradition Products Miracle in Tradition Artistry, but also handing down family tradition from one generation to the next and bring local artistry onto international stage. This study focuses on Pili puppet of the “Pili international multimedia company” with depth interview, and compares the result with theory. The research tries to find the image of Taiwan and congnition of puppet culture under culture of the cultural and creative industries in Taiwan. There are two finding of research. “Pili puppet” in the image of Taiwan, it promote the congnition of puppet culture with locolization, and it also connect and marketing puppet culture to internation. To reach the puppet culture purpose, the government need to make effer on law and the industury need to offer in the cultural and creative industries in Taiwan with promote the image of Taiwan. Second, the research about the strategy of the cultural and creative of “Pili puppet” in Taiwan is perfect and complete. Finaly, it suggests the “Pili puppet” need to develop the supply chain of visional animation of moives and cultivate talented person of this area. And it also need to develop the “Pili puppet Entertainment” become a culture sightseeing industries.
50
Omar, Yasmin. "Exploring cognitively challenged children’s response to puppet theatre addressing grief, within a group intervention." Thesis, 2014. http://hdl.handle.net/10210/11242.
Full textAbstract:
M.Ed. (Educational Psychology)There is a dire need within the South African context for psychological interventions (Landsberg, Kruger & Nel, 2005). Keeping this in mind, group interventions may prove to be a most beneficial and effective choice as it provides the opportunity to address several individuals systematically and simultaneously (Babbie, 2011). Smaller groups provide an opportunity of learning from others and the comfort of knowing that you are not alone. I was therefore interested in exploring cognitively challenged children’s response to puppet theatre addressing grief, within a group intervention. The theoretical framework employed in this study is the socio-cultural framework. Based on the work of Lev Vygotsky, which deals with the concept that the cognitive development of a child depends upon his/her response to the influences of the culture and society he/she is born in (Berk, 1997). His observation was that the social interaction brings about a gradual change in the way a child thinks, feels and behaves and this is variable from one culture to another. I take these views of knowledge being actively and continuously constructed and reconstructed with the impact and influence of social environments (Donald, Lazarus & Lolwana, 2010) in order to explore the collaborative understanding of grief. The aim of this study was to explore cognitively challenged children’s response to puppet theatre addressing grief, within a group intervention. Puppet theatre presented an opportunity to work with children through ‘play’, thus forming an alliance with the children in a non-threatening manner (Granot, 2005). With the focus being on the puppets, not on the children, their responses to grief was observed and resulted in group discussions. As Glăveanu (2010) points out, creative acts are simultaneously forms of externalisation and cultural expression. Malchiodi (1998), stresses the importance of considering developmental delays, especially with the cognitively impaired, when working creatively with children. The research followed a phenomenological research design through purposive sampling of seven children from a Gauteng (South Africa) school for children with cognitive challenges. Data was collected through the means of unstructured group interviews and observations. In observing their experiences with puppet theatre in a group intervention, the aim was to explore their responses and understanding of grief. Narrative analysis of the data collected provided themes to guide my findings. The study found that group intervention did prove useful with creating awareness amongst the cognitively challenged participants by allowing them to connect with their emotions. Puppet theatre also proved effective in externalizing cognitively challenged children’s exploration of grief. Through the emergence of this research communities will be better informed to the value of group intervention and the advantages of puppet theatre with cognitively challenged children.