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Journal articles on the topic 'Puppet theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

Lazar, Martina Maurič. "Slovenian Puppet Base Jumping." Maska 31, no. 179 (September 1, 2016): 114–25. http://dx.doi.org/10.1386/maska.31.179-180.114_1.

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The contribution provides a deliberation on the current state of affairs in the field of puppet art in Slovenia. The author of the article is a member of the Ljubljana Puppet Theatre and thus relates her understanding of the state of Slovene puppetry from the subjective viewpoint of a co-creator. The article focuses on understanding the structure of two professional puppet theatres in Slovenia (Ljubljana Puppet Theatre and Puppet Theatre Maribor), as well as independent freelance artists. She stresses the sensitivity in developments in puppetry and care for its comprehensive development.

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2

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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3

Zich, Otakar. "Puppet theatre." Theatralia, no. 2 (2015): 505–13. http://dx.doi.org/10.5817/ty2015-2-23.

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4

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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5

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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6

Fisher, Emma. "The symbiotic relationship between puppetry and disability: The emergence of a strong contemporary visual language." Journal of Applied Arts & Health 11, no. 1 (July 1, 2020): 15–28. http://dx.doi.org/10.1386/jaah_00015_1.

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This article will discuss how the puppet’s body is the perfect vessel to reclaim the voices of those that have been ‘othered’.1 It examines the history of the fractured puppet and the emergence of disability-affirmative puppet theatre in the twenty-first century, exploring the puppet’s ability to fracture, reform and move in new and exciting ways that allow different approaches of expression; these seek to challenge how the body, the puppeteer and the puppet are viewed. I will examine how puppet plays, A Square World, Meet Fred, The Iron Man and my own show Pupa, represent disability through puppets’ bodies in new and interesting ways. Through the use of the puppet’s body, these shows seek to shine a light on the absurdity of an exclusive world and make us question the cultural constructions around the disabled and puppet body.

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7

Blok, Aleksander. "The Puppet Theatre." Canadian-American Slavic Studies 24, no. 2 (1990): 181–98. http://dx.doi.org/10.1163/221023990x01065.

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8

Schumann, Peter. "The Bread and Puppet Theatre in Nicaragua, 1985." New Theatre Quarterly 5, no. 17 (February 1989): 3–7. http://dx.doi.org/10.1017/s0266464x00015293.

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Peter Schumann's Bread and Puppet Theatre was formed in New York in 1963, and gained an international reputation for its unique combination of larger-than-life puppetry and celebratory pageantry. After leaving New York in 1970, Schumann finally settled on a thirty-acre site in Vermont in 1974, but Bread and Puppet has continued to travel far afield, and in the original Theatre Quarterly. No. 19 (1975). their Californian residency for the ‘anti-bicentennial’ celebration, A Monument for Ishi. was documented, along with practical material on the making of the puppets-and the bread. While Bread and Puppet continue to perform regularly in North America and Europe, much of their recent work, however, has centered on or been performed for Latin America – including the two projects in Nicaragua described in the following feature. In the opening part, Peter Schumann discusses with Rosa Luisa Márquez the company's 1985 production – The Nativity, Crucifixion, and Resurrection of Archbishop Romero – and its place in their work. John Bell then provides an introduction to a later interview describing the production of the Nicaraguan Passion Play in 1987, accompanied by the text of the play itself. Rosa Luisa Márquez, who teaches in the Drama Department of the University of Puerto Rico, and John Bell, who is completing his doctoral studies and teaching theatre history at Columbia University in New York, have also both been personally involved in the work of Bread and Puppet Theatre.

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9

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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10

Waszkiel,, Marek. "The Director in Puppet Theatre." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 180–88. http://dx.doi.org/10.34064/khnum1-51.10.

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In the Polish theatre of the second half of the 20th century, and it seems that also in that of the first quarter of the 21st century, the most important person is the director. Was it always so that puppet theatre equals the director? So, the objectives of this study to determine this problem. It was only in the 20th century, beginning with the period of the great reform of theatre, that the director was given unlimited competencies. In puppet theatre this process took much longer, because the classical style of theatre organization, derived from unaccompanied and private enterprises of particular creators, also endured for longer. This profession was slow in developing. Today, it is the director that rules supreme in a puppet theatre. But we are still taking about directorial space delineated a few decades ago. In practice, Polish directors are still convinced today that theatre is intended to tell stories. This process eliminates puppetry as an independently existing art based primarily on the abilities of the craftsmen; on the miracle of animating a lifeless object, a puppet, whose magical life has so much to offer the spectators. On the contrary, axis of this process stand the artists who see the meaning of their theatrical expression in bring lifeless matter to life. This – when puppet theatre is, after all, a show; it is visual art in motion, not storytelling.

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11

Abed, Husam, and Réka Deák. "Breaking out of time: Dafa Puppet Theatre." Applied Theatre Research 8, no. 1 (July 1, 2020): 135–42. http://dx.doi.org/10.1386/atr_00031_1.

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Dafa Puppet Theatre works with refugee communities to enable expression and change people’s lives through puppetry. Dafa’s work is on the boundaries of visual arts, puppetry, music, family gathering, food and a range of different elements. The idea of the puppet is something that you can touch and sense, yet it is on the borders between reality and fiction. There is always the possibility that the gates of imagination can be opened by this object, which can have many symbolic meanings. In this article, a reflection transcribed from an interview with Laura Purcell-Gates, Husam and Réka discuss their work with puppetry in communities. They reflect on layers of meaning within the puppet, working with specific materials and found objects, the importance of cultural specificity in their approach to the work, decolonizing practices of puppetry and building community through integrating puppetry, gatherings and shared food. This artistic discussion is an insight into a very active company working with often vulnerable and displaced communities.

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12

Ayers, Shan R. "American Puppetry: Collections, History and Performance. Edited by Phyllis T. Dircks. Foreward by Steve Abrams. Jefferson, NC: McFarland, 2004; pp. vii + 326. $39.95." Theatre Survey 46, no. 2 (October 25, 2005): 351–53. http://dx.doi.org/10.1017/s0040557405400204.

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American Puppetry: Collections, History and Performance, edited by Phyllis T. Dircks, is a valuable collection of essays on the state of puppet theatre in America and useful documentations of extant collections that will serve puppeteers. Dircks identifies the need for this work in her introduction when she, rightly, comments that “[f]ortunately, thousands of puppets from various cultures and many time periods have been collected by scholars, enthusiasts and curators, who wisely realized that these material images can teach us much about the society for which they were crafted” (4). Her careful and thorough collection chronicles the well-known, such as Bread and Puppet, the Muppets, and Howdy Doody, as well as the lesser-known facts in the field of puppetry—for example, Peter Arnott's use of puppets to stage plays from classical dramatic literature. The volume is also up to date; the work of Julie Taymor is discussed for its fusion of human performers with the surreal and for its highly imaginative puppet creations.

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13

McCormick, John. "Puppet theatre in Italy." Móin-Móin: Revista de estudos sobre teatro de formas animadas 1, no. 2 (May 24, 2018): 53–65. http://dx.doi.org/10.5965/2595034701022006053.

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14

Schultz, Terry Louis, and Linda M. Sorenson. "The organic puppet theatre." Day Care & Early Education 12, no. 4 (June 1985): 22–30. http://dx.doi.org/10.1007/bf01619853.

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15

HONZÍKOVÁ, Jarmila. "THE INTEGRATION OF PUPPETS AND PUPPET THEATRE TO KINDERGARTEN." Trends in Education 11, no. 2 (December 21, 2018): 48–56. http://dx.doi.org/10.5507/tvv.2018.013.

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16

Prieto García, Alejandra. "Cartografías del cuerpo femenino en el teatro de títeres de Winged Cranes." Revista de Filología de la Universidad de La Laguna, no. 44 (2022): 69–84. http://dx.doi.org/10.25145/j.refiull.2022.44.04.

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This research focuses on the different visions of the female body and the gender issue in puppet theatre in Spain developed by the theatre company Winged Cranes based in Madrid through the study of three of its most relevant productions: Don Kiss me, I’m in training; The soldier with no name and Bernarda’s Backstage. An analysis of the multicultural and interdisciplinary contexts in which Winged Cranes has been formed and developed its artistic work is proposed. The performative bodies created by this company for the stage are analyzed by examining the puppets shown in its productions. This investigation values the contribution of Winged Cranes to the representation of women in puppet theatre and theatre in general in Spain from a feminist and a gender perspective.

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17

Astell-Burt, Caroline, Theresa McNally, Gemma Collard-Stokes, and Yoon Irons. "‘Withness’: Creative spectating for residents living with advanced dementia in care homes." Journal of Applied Arts & Health 11, no. 1 (July 1, 2020): 125–33. http://dx.doi.org/10.1386/jaah_00024_7.

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Aiming to illustrate the potential for puppetry as a useful resource in dementia care, the authors argue unusually that play with puppets derives not particularly from drama or theatre, but fundamentally from the performative relationship people have with objects. The puppeteers of the study achieved remarkable emotional connection with care-home residents through an experience of puppetry, which dissolved the unitary autonomy of the puppet, recontextualizing it relationally as the puppeteer-with-puppet-with-spectator. It is this ‘withness’ that ignited the creative spark of presence of the residents. For a moment of trust and child-like joy kinaesthetic memories stirred in them, appearing to break down emotional barriers between the person and the world around them and indicating comparatively longer-term therapeutic benefits.

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18

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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19

Bogatyrev, Pyotr. "Czech Puppet Theatre and Russian Folk Theatre." TDR/The Drama Review 43, no. 3 (September 1999): 97–114. http://dx.doi.org/10.1162/105420499760347351.

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This key historical and theoretical document connecting Czech and Russian puppet and folk theatres is translated into English for the first time. Bogatyrev opened a whole new area of semiotic studies.

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20

Arnoldi, Mary Jo. "Puppet Theatre: Form and Ideology in Bamana Performances." Empirical Studies of the Arts 4, no. 2 (July 1986): 131–50. http://dx.doi.org/10.2190/en7j-51hl-1y3d-72vd.

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The Bamana living in the Segu region in central Mali carve a range of masks and puppets for specific performance contexts. These sculptures are related to and must be interpreted in light of the community's definition of the event for which they were created. This study examines a category of sculptures which are produced for youth puppet theatre. It compares these sculptures to a second category of masks which are produced for men's initiation associations and relates both categories to the definition of their respective performance events. It then analyzes the social identity of the actors in youth theatre and the ideology which organizes the import of the puppet theatre in these communities.

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21

Osnes, Mary Beth. "Malaysia's Evolving Shadow Puppet Theatre." Asian Theatre Journal 9, no. 1 (1992): 112. http://dx.doi.org/10.2307/1124252.

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22

Fisher, Emma, and Cariad Astles. "Puppet theatre under COVID-19." Journal of Applied Arts & Health 11, no. 1 (July 1, 2020): 163–70. http://dx.doi.org/10.1386/jaah_00029_7.

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Puppetry is a resilient art form, as has been evidenced by the response of puppeteers to the recent COVID-19 pandemic. Perhaps this is fitting, as puppeteers have a long history of travelling to perform and adapting their performances to changing circumstances. In this report, we provide a sample of puppetry projects that are taking place around the world and some insights from puppeteers on how they are working through COVID-19; using puppetry to teach about COVID-19 and teaching puppetry in general; to entertain and to perform puppetry that is offered as ritual at a time of crisis.

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23

Raitorovskaya, Natalia. "The Artisf s puppet theatre." Contemporary Theatre Review 1, no. 1 (November 1992): 31–36. http://dx.doi.org/10.1080/10486809208568244.

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24

Mello, Alissa. "The World of Puppet Theatre." PAJ: A Journal of Performance and Art 32, no. 2 (May 2010): 62–67. http://dx.doi.org/10.1162/pajj.2010.32.2.62.

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25

De Oliveira, José Luís. "A relação da literatura de cordel na antroponímia dos fantoches populares portugueses." Jangada: crítica | literatura | artes, no. 10 (April 7, 2018): 4–18. http://dx.doi.org/10.35921/jangada.v0i10.77.

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RESUMO: O mundo do teatro de bonecos em Portugal está envolto numa bruma, devido, em parte, a algum desinteresse da classe teatreira, mas principalmente, à escassa documentação sobre esta arte ancestral. O teatro de marionetas popular era pouco palavroso, em oposição ao teatro de atores de carne e osso, onde o verbo era fundamental. O repertório de texto diminuto, transmitido por via oral, levou à perda substancial de um entretenimento que fez os encantos de miúdos e graúdos ao longo dos séculos. Uma das lacunas é a génese dos próprios apodos pelos quais os bonifrates eram conhecidos. Atualmente encontra-se vulgarizado o cognome Dom Roberto (conhecido até 1962 por robertos) para designar os bonecos de luva populares portugueses. Este evoluiu a partir do drama de cordel adaptado da lenda medieval Roberto do diabo e que fez parte do repertório do teatro de bonecos populares portugueses. PALAVRAS-CHAVE: Teatro de bonecos, literatura de cordel, folhetos volantes. ________________________ ABSTRACT: The world of puppet theater in Portugal is shrouded in mist, partly due to some disinterest in theater professionals, but mainly due to the scarce documentation about this ancestral art. The popular puppet theater was of few text, as opposed to the actors theater, where the verb was fundamental. The diminutive repertoire of orally transmitted text has led to the substantial loss of entertainment that has made the charms of kids and adults over the centuries. One of the gaps is the genesis of the nicknames for which puppets were known. At the moment the name Dom Roberto (known until 1962 by robertos) is popularized to designate the Portuguese glove popular puppets. This evolved from the chapbook drama adapted from the medieval legend Robert the devil and that was part of the repertoire of Portuguese popular puppet theatre. KEYWORDS: Puppet theater, chapbooks.

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Stefanova, Kalina. "Criticism without adjectives: A fable about people from the edge." Maska 31, no. 181 (December 1, 2016): 130–37. http://dx.doi.org/10.1386/maska.31.181-182.130_1.

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Theatre and puppet director Alexander Morfov has been slowly revolutionizing Bulgarian theatre over the last 25 years. His most important contribution to this theatre is its emancipation from prejudice against stage spectacle. He has achieved this by ingeniously fusing the languages of drama and puppet theatre, which remains the only truly original and novel theatre reality on Bulgarian stages. The article focuses mainly on his performance On the Edge.

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27

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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Plassard, Didier. "Actor and Puppet on the Contemporary Stage." Maska 31, no. 179 (September 1, 2016): 8–17. http://dx.doi.org/10.1386/maska.31.179-180.8_1.

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The article discusses the changes in puppetry that occurred mostly in the second half of the 20th century. It addresses the changes in organization that led from small family groups to institutionalized public institutions and follows the organizational example of ensembles of drama theatre institutions, as well as changes in the relationship between the animator and the puppet that allow the disillusioning emergence of the animator into the visual field of the viewer. The “manipulator” who is no longer hidden influences the change in the manner of narration, in the aesthetic and the political senses both; at the same time, the qualitative difference between the manipulator as a living, physical and human being and the puppet on the other side is suddenly revealed. The article concludes by addressing the ethical dimension in the puppet theatre as it stresses the understanding of the puppet as the face of the other whose life is the responsibility of the human being. The article carries out its instructive review and theses with the help of several illustrative examples.

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Kaplin, Stephen. "A Puppet Tree: A Model for the Field of Puppet Theatre." TDR/The Drama Review 43, no. 3 (September 1999): 28–35. http://dx.doi.org/10.1162/105420499760347306.

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Kaplin proposes a new theory of puppet theatre based on distance and ratio—where distance is the degree of separation between performer and object, and ratio the number of objects compared to the number of performers.

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30

Katona, Eszter. "La importancia del guiñol dentro del mundo lorquiano." Acta Hispanica 17 (January 1, 2012): 71–78. http://dx.doi.org/10.14232/actahisp.2012.17.71-78.

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Federico García Lorca was a versatile artist, known as a musiáan, poet, dramatist, essaywriter, and the director and actor of the Barraca Troupe, to mention only some important moments of his short but outstanding artistic career. Since his poems and dramas are well known amongst the Hungarian audience, instead of repeating clichés, this study selected a segment of Lorca's life work that is still considered a foster child among literary genres. This genre is the puppet-theatre, which always played a significant role in Lorca's life. The roots of this enthusiasm must be sought in his childhood, while as an adult ljorca consciously tried to search and pass on his knowledge of the tradition ofpuppet-shows and also lullabies. With the revival of such folk-rooted, andent cultural treasures, the Andalusian artist wanted to guide his audience back to childhood innocence untouched by riviligation. Avant-garde movements from the beginning of the century were also familiar with the genre of puppet-theatre. Several Spanish litterateurs (Jarinto Benavente, Valle In clan, Rafael Alberti, Jacinto Grau) wrote plays especially for puppets, mostly —and surprisingly differing from our contemporary perception of puppet shows— for adult audiences. Lorca's life work includes four surviving works written for puppet-theatre (Cristobícal, Ta tragicomedia de Don Cristóbal y la seña Rosita, La niña que riega la albahacay el príncipe preguntón, Retablillo de Don Cristóbal), this study willfocus on presenting these plays.

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31

Markovits, Andrea. "Puppet theatre: A way to tell what cannot be told and to face pain." Journal of Applied Arts & Health 11, no. 1 (July 1, 2020): 149–55. http://dx.doi.org/10.1386/jaah_00027_7.

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Processes of artistic reparation and memory recovery are spaces created for victims of state terrorism and family members of the disappeared in the context of the military dictatorship in Chile (1973‐90). Puppet therapy was utilized as a methodology by the company Puppets in Transit with participants drawn from Integrated Health Services in Chile in relation to reparation projects. This process of intervention with puppets seeks to restore social bonds, to enable an intergenerational dialogue and to transmit fragmented memory. The puppet, an expressive, symbolic and mediating object, stimulates a collective dialogue to create collective performance related to participants’ memories. All those mentioned in this article have given permission for their stories to be mentioned; we use only first names.

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32

Bell, John. "Gertrude Stein's Identity:." TDR/The Drama Review 50, no. 1 (March 2006): 87–99. http://dx.doi.org/10.1162/dram.2006.50.1.87.

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Donald Vestal's 1930s puppet theatre production of a Gertrude Stein play, Identity, or I Am I Because My Little Dog Knows Me, marked a confluence of Midwest modernism, the resources of the Federal Theatre Project, the development of American puppet theatre as a modernist art form, and the coincidental presence of Stein, Vestal, Thornton Wilder, Bil Baird, and other artists of 1930s Chicago.

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33

Schumann, Peter. "The Radicality of the Puppet Theatre." TDR (1988-) 35, no. 4 (1991): 75. http://dx.doi.org/10.2307/1146164.

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34

Reeder, Roberta, and Catriona Kelly. "Petrushka: The Russian Carnival Puppet Theatre." Slavic and East European Journal 36, no. 3 (1992): 383. http://dx.doi.org/10.2307/308608.

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35

Banjanin, Milica, and Catriona Kelly. "Petrushka: The Russian Carnival Puppet Theatre." Russian Review 51, no. 2 (April 1992): 270. http://dx.doi.org/10.2307/130704.

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36

Wigzell, Faith, and Catriona Kelly. "Petrushka: The Russian Carnival Puppet Theatre." Modern Language Review 87, no. 2 (April 1992): 534. http://dx.doi.org/10.2307/3730775.

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37

Elzey, John M. "Awa Ningyō Jōruri: Provincial Puppet Theatre." Asian Theatre Journal 4, no. 1 (1987): 115. http://dx.doi.org/10.2307/1124439.

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38

Gibbons, Jacqueline A. "Gender and the Japanese puppet theatre." Visual Sociology 16, no. 2 (January 2001): 59–73. http://dx.doi.org/10.1080/14725860108583835.

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39

Horowitz, Arthur. "The International Festival of Puppet Theatre." Theatre Journal 51, no. 2 (1999): 203–6. http://dx.doi.org/10.1353/tj.1999.0040.

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40

Plowright, Poh Sim. "The Birdwoman and the Puppet King: a Study of Inversion in Chinese Theatre." New Theatre Quarterly 13, no. 50 (May 1997): 106–18. http://dx.doi.org/10.1017/s0266464x0001099x.

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Poh Sim Plowright recently spent six weeks in Quanzhou, in the Fujian Province of China, watching the puppeteers, actors, and audiences of her native Fujian theatre tradition. Here she was able to observe at first hand the principle of inversion that, she believes, underlies all Chinese theatre: and in the following article she argues that this principle is clearly illustrated by the string puppet and human theatres of Quanzhou, whose origins can be traced to the official ‘Pear Garden Theatre’ set up in the eighth century by the Tang Emperor, Ming Huang. Theatre in this part of South China is, Plowright suggests, living testimony to the continuing basis of Chinese theatre in the practice of ancestor worship, through which most performances become sacrificial offerings – a connection she believes Brecht to have missed in his celebrated confrontation with Chinese acting techniques in Moscow in 1935. Poh Sim Plowright is Lecturer in Oriental Drama and Director of the Noh Centre in the Department of Drama, Theatre, and Media Arts at Royal Holloway, University of London. She is the author of a book on the Noh, and also of several plays and features on theatrical subjects for BBC Radio Three.

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41

Malíková, Nina. "Czech puppet theatre - tradition, legend, and reality: or, is contemporary Czech puppet theatre and endangered species?" Theatralia, no. 2 (2015): 347–83. http://dx.doi.org/10.5817/ty2015-2-10.

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42

Piris, Paul. "The puppet as a figure of alterity in contemporary puppet theatre." itw : im dialog 5 (November 29, 2021): 180–94. http://dx.doi.org/10.16905/itwid.2021.15.

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43

Buchma, Olga. "Gordon Craig`s "über-marionette" concept as an expressive means of a puppet theatre." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 235–38. http://dx.doi.org/10.32461/2226-2180.39.2021.238730.

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Purpose of the article. To study the process of the emergence of stage truth in the live-action puppet art. To define the peculiarity of creating stage truth by the expressive means of the puppet theatre. To analyze the theoretical works by Gordon Craig concerning the aesthetic concept of "über-marionette". To designate the ways of realization of stage truth in puppet theatre with the help of Gordon Craig`s "über-marionette" concept. Methodology of the research consists in the application of methods of system analysis, analogy, comparison, and opposition to analyze the "über-marionette" concept in comparative description with the expressive means and aesthetic principles of the live-action puppet art. The scientific novelty of the article is in the view on the nature of stage truth, in considering Gordon Craig`s "über-marionette" concept in the context of psychophysical image creation in puppet theatre and in searching for the ways to realize stage truth of puppet theatre in the context of new puppeteer`s artistic techniques. Conclusions. A live-action puppet, regardless of its system, genre restrictions, and movement characteristics, obeys its own conventional truth. The Puppeteer has Gordon Craig's stage truth. Gordon Craig in his theory of the "über-marionette" substantiated a new kind of stage truth needed by the puppeteer. Thanks to it the puppeteer can transform in his own way and even identify himself with the doll image. However, Craig did not elaborate on the actor's practice of achieving such stage truth. Guided by his theoretical works, one can only make an assumption about the practical implementation of the "über-marionette" theory in the stage practice of the live-action puppet art.

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Sera, Mareike. "Jan Švankmajer’s Don Šajn (1970): Puppets as intimate objects." Animation 13, no. 1 (March 2018): 35–52. http://dx.doi.org/10.1177/1746847718761160.

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The puppet form has caught the imagination of many artists and writers. However, coming to terms with this riddling figuration is difficult. As a configuration characterized by tensions and conflicts, it eludes easy determination. This article focuses on the paradoxical nature of the puppet form: the tension in between the external bodily existence and the internal dramatic life of the puppet – two existential states that invest the puppet form with a perplexing double life. The paradox of renegotiating communicative flows between interior and exterior worlds is examined in relation to the phenomenon of intermediality. Amidst the intermedial concatenation of different modes of expression – puppetry, theatre, cinema and object animation – the puppet form acts as an intimate space. Concrete instances of medial interchanges carry metaphorically a long way towards the most intimate relation of knowing and feeling in resonance with the puppet form. Working with one of the finest examples of the use of puppetry in film, Jan Švankmajer’s Don Šajn (1970), these thoughts are developed through a series of readings ranging from the film critic Michael O’Pray’s view of the film, André Breton’s notion of communicating vessels, Deleuze’s concept of the baroque fold and Paul Ricoeur’s hermeneutic phenomenology.

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Ley, Graham, John McCormick, and Bennie Pratasik. "Popular Puppet Theatre in Europe, 1900-1914." Modern Language Review 95, no. 2 (April 2000): 597. http://dx.doi.org/10.2307/3736256.

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46

Auslander, Philip, and Stefan Brecht. "The Bread and Puppet Theatre, Volume One." Theatre Journal 42, no. 2 (May 1990): 270. http://dx.doi.org/10.2307/3207773.

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47

Nekrylova, Anna. "The Leningrad puppet theatre and folk tradition." Contemporary Theatre Review 1, no. 1 (November 1992): 19–24. http://dx.doi.org/10.1080/10486809208568242.

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Turayev, Georgi. "The State puppet theatre of fairy tales." Contemporary Theatre Review 1, no. 1 (November 1992): 49–54. http://dx.doi.org/10.1080/10486809208568247.

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Baraitser, Marion. "Appendix B: Puppet theatre — The European repertoire." Contemporary Theatre Review 10, no. 1 (January 1999): 89–94. http://dx.doi.org/10.1080/10486809908568578.

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50

Teržan, Vesna. "The Museum of Puppetry a Ljubljana Castle." Maska 31, no. 179 (September 1, 2016): 126–37. http://dx.doi.org/10.1386/maska.31.179-180.126_1.

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The recent acquisition of space for the Museum of Puppetry at Ljubljana Castle (on the occasion of the centenary of puppet art in Slovenia) is one of the more important steps towards achieving the goal of finally granting puppet art its proper place among the performing arts as well as in the entire history of art in Slovenia. The greater part of the museum mission has been taken over by Ljubljana Puppet Theatre, wherein they prepared an excellent work project and brought to fruition one of the best museum presentations in Slovenia around. They present the history of Slovenian puppetry at a very high professional level (authors: Ajda Rooss and Nadja Ocepek) and, at the same time, have established that the collection must be studied carefully and properly preserved and restored (Zala Kalan). Thus, the new museum has achieved a perfect balance between fun, play, cultivation and education.

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