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Journal articles on the topic 'Puppetry (performing art)'

Author: Grafiati

Published: 11 December 2022

Last updated: 26 January 2023

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1

Nishanth, Anisha. "THOLPAVAKOOTHU:A STUDY ON THE PERFORMING ART OF SHADOW PUPPETRY IN KERALA." International Journal of Research -GRANTHAALAYAH 9, no. 12 (2021): 17–24. http://dx.doi.org/10.29121/granthaalayah.v9.i12.2021.4406.

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Tholpavakoothu is a form of shadow puppetry which is the ancient art form found only in Kerala and it is a ritualistic worship for Goddess Devi. The main theme of tholpavakoothu is based on Kamba Ramayan and puppets which are chiseled out beautifully on the animal skin are used for the puppetry. Unlike other puppetry, it is the black shadow of puppets that forms on the white screen in the presence of oil lamps that portrays the tale of Ramayana. The study is for the deeper understanding of the origin, style, forms, and themes of tholpavakoothu and also to find out the different influences of a

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2

Massoudi, Shiva, and Nazanin Mehraein. "From an image to performance: dramaturgy for image- based performing." Móin-Móin - Revista de Estudos sobre Teatro de Formas Animadas 1, no. 20 (2019): 237–56. http://dx.doi.org/10.5965/2595034701202019237.

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Undoubtedly, it is impossible Teaching any kind of Art without contemplating the others. Based on dissolving the borders of di erent kinds of arts then interdisciplin- ary trends is so prevalent in Contemporary art. e appearance of elements of other kind of Art like Photo, video in eatre emphasizes on revising method of teaching. In Puppet eatre which has essentially synthetic quality of performance with di erent styles of manipulation and animation up to any Artist, this issue is very important. e entrance of new media to puppet theatre have been more strong and e ective because of some overl

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3

Teržan, Vesna. "The Museum of Puppetry a Ljubljana Castle." Maska 31, no. 179 (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 ve

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4

Plowright, Poh Sim. "The Desacralization of Puppetry: a Case History from Rajasthan." New Theatre Quarterly 21, no. 3 (2005): 273–98. http://dx.doi.org/10.1017/s0266464x05000163.

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In the autumn of 2003, Poh Sim Plowright went to Rajasthan—the cradle of string puppetry, where the Creator is perceived as the Arch Puppeteer controlling humans through strings—in search of the provenance of its famed string-puppet tradition (kathputli). She found an ancient collection of thirty-two stories—Sinhasan Battisi—(hitherto unknown in the West), focusing on a golden throne and female puppet power, which provides eloquent testimony to the original importance of the puppet art in that part of India. Yet in the streets of Udaipur today, that art seems to have been reduced to gaudy souv

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5

Vigouroux-Frey, Nicole. "Bulgarian Puppetry: A Stylish Art Form." Theatre Research International 25, no. 2 (2000): 183–90. http://dx.doi.org/10.1017/s030788330001302x.

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Primarily a melting-pot of influences and techniques, the rapid development of the Bulgarian puppet theatre into a series of achievements, over a relatively short period of time, may be regarded as archetypal of the enthusiastic quest of a young nation for new artistic modes of expression. An imaginative, vital flexibility characterizes this pervasive art form, aimed at children and adults alike, with its twenty professional companies across the country at the beginning of the 1990s.

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6

Rovit, Rebecca, and Steve Tillis. "Toward an Aesthetics of the Puppet: Puppetry as a Theatrical Art." Theatre Journal 46, no. 2 (1994): 301. http://dx.doi.org/10.2307/3208478.

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7

Baraitser, Marion. "Appendix A: Questionnaire: Puppetry as a theatrical art." Contemporary Theatre Review 10, no. 1 (1999): 85–88. http://dx.doi.org/10.1080/10486809908568577.

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8

Tillis, Steve. "The Art of Puppetry in the Age of Media Production." TDR/The Drama Review 43, no. 3 (1999): 182–95. http://dx.doi.org/10.1162/105420499760347405.

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The microchip has replaced clockworks as the intelligence driving performing objects. What of virtual animation—the magical CGI's or computer graphics images? Tillis considers this question from Walter Benjamin through to Waldo—an “ergonomic-gonio-kineti-telemetric device.”

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9

Hikmatova Muqadas Nurilloevna. "Mythology in folklore and its features." Middle European Scientific Bulletin 6 (November 18, 2020): 63–66. http://dx.doi.org/10.47494/mesb.2020.6.117.

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In the article, folk art - artistic, creative-practical and amateur activity of the masses; folklore, folk music (folklore), folk theater (performing arts), folk dances (dances), puppetry, wood and wooden foot games (folk circus), folk fine and applied arts of traditional material and intangible culture information and examples of art and technical and artistic hobbies

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10

Bass, Eric. "Notes on puppetry as a theatrical art: Response to an interview." Contemporary Theatre Review 10, no. 1 (1999): 35–39. http://dx.doi.org/10.1080/10486809908568572.

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11

Wiratama, Rudy. "REPRESENTATION OF JAVANESE IDENTITIES IN WAYANG GEDHOG DEPICTING PANJI TALES." Jantra. 14, no. 2 (2019): 203–12. http://dx.doi.org/10.52829/jantra.v14i2.98.

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Wayang Gedhog is a genre of puppetry which once ever enjoyed its popularity in Java, particularly in Surakarta and Yogyakarta until the beginning of 20th century. Its Panji-themed lakon is always for all time identified with court traditions. It implicitly reflects the social order and paradigm of the members of this political institution from its court aristocrats to low-ranked officials. Wayang Gedhog is undergoing an era of change where the life of performing arts is rapidly developing. Using Homi Bhabha’s theory about Self Identification, this research aimed to reveal how far the lakon and

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12

Foley, Kathy. "The Metonymy of Art: Vietnamese Water Puppetry As a Representation of Modern Vietnam." TDR/The Drama Review 45, no. 4 (2001): 129–41. http://dx.doi.org/10.1162/105420401772990379.

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What is the process that makes a specific genre into a symbol of an entire nation? What are the larger issues raised by the metonymy of art? As Vietnam prepares to enter the “world market”, its water puppet theatre enacts rural ideals and socialist ideas.

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13

Özcan, Oguzhan. "Feel-in-Touch!: Imagination through Vibration: A Utopia of Vibro-Acoustic Technology, Puppetry and Multimedia Art." Leonardo 37, no. 4 (2004): 325–30. http://dx.doi.org/10.1162/0024094041724526.

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This article introduces a conceptual design for an interactive artwork called Feel-in-Touch! Its aim is to improve the use of imagination in artworks using abstract images in the formats of interactive media and vibro-tactile aids. New technologies can visually realize every surrealistic narration we can imagine, but these technologies limit our perceptions by presenting only one way of imagining, instead of multiple alternatives. This restricts creative thinking. Working from the above assumption, this article explores how to increase the degree of imagination in an interactive artwork. The a

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14

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 (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 carefu

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15

Backer, Mumtaz. "“SILK SHADOWS SPEAK:” PERFORMING THE VOICES OF CHILDREN THROUGH WAYANG KULIT AND HERITAGE FOLKTALES." Jurnal Gendang Alam (GA) 11, no. 2 (2021): 113–26. http://dx.doi.org/10.51200/ga.v11i2.3335.

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There is extensive literature on drama and theatre in education regarding the role, value and benefits of performative tools to enhance learning, stimulating creativity and cognitive of children. However, while there is a substantial and well-evidenced body of literature in this area, there are few studies that present the voices of those directly affected by these claims; the children involved as participants in these studies or research projects, especially in Malaysia. This article deals with a fundamental research grant funded by the Ministry of Higher Education of Malaysia carried out fro

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16

Cohen, Matthew Isaac. "Puppets, Puppeteers, and Puppet Spectators: A Response to the Volkenburg Puppetry Symposium." Contemporary Theatre Review 27, no. 2 (2017): 275–80. http://dx.doi.org/10.1080/10486801.2017.1298100.

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17

Schumann, Peter. "What, At the End of This Century, Is the Situation of Puppets & Performing Objects?" TDR/The Drama Review 43, no. 3 (1999): 56–61. http://dx.doi.org/10.1162/105420499760347324.

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18

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 (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 m

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19

Fan, Kuo Kuang, and Peng Wei Hsiao. "Learning for Shadow Puppet’s Action Control Inverse Kinematics Method." Applied Mechanics and Materials 284-287 (January 2013): 3569–72. http://dx.doi.org/10.4028/www.scientific.net/amm.284-287.3569.

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Puppet shadow is not only one of the oldest forms of performing, but also a very characteristic traditional folk performing art. Since the action skill is a family heirloom of puppet shadow troupes, they seldom teach outsiders so this issue is rarely discussed. The spatial and regional limitation makes the observation and learning of puppet-motion and action skill rather difficult. This study uses Flash CS4 to create the features and functions of puppets via inverse kinematics (IK) method. Using the concept of inverse kinematics constructs the movement of puppets and simulates the motion of pu

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20

Jannarone, Kimberly. "Puppetry and Pataphysics: Populism and the Ubu Cycle." New Theatre Quarterly 17, no. 3 (2001): 239–53. http://dx.doi.org/10.1017/s0266464x00014755.

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Many partisans of Alfred Jarry's work have discovered Ubu roi and the ‘science’ of pataphysics via a study of the Parisian avant-garde, and the play has been discussed for a hundred years in this context. Kimberly Jannarone also assesses Jarry in the context of the world of rural puppetry – for, like many other avant-garde artists at the fin de siècle, Jarry came to Paris from a small town, and brought with him such formative experiences as the makeshift puppet shows he saw as a child. Bringing the rural puppet into focus in a discussion of the Ubu cycle, Kimberly Jannarone exposes Père Ubu's

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21

Kruger, Marie. "The Power of Double Vision: Tradition and Social Intervention in African Puppet Performance." New Theatre Quarterly 22, no. 4 (2006): 324–35. http://dx.doi.org/10.1017/s0266464x06000510.

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The appeal of the puppet lies partly in its dual nature: it is at once a representative object without life while at the same time it enacts the imagined life with which it is endowed by the puppeteer. Marie Kruger argues that this duality makes puppetry a uniquely effective way of questioning the very traditional values it appears to embody, and so of stimulating a sense of the need for social change. She relates her argument to the long tradition of puppetry among the Bamana people of Mali, and specifically to the performance of the Bin Sogo bo, an animal masquerade in which the ‘characters’

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22

Orenstein, Claudia. "The Object in Question: The FIDENA International Puppetry Festival." TDR/The Drama Review 59, no. 2 (2015): 164–69. http://dx.doi.org/10.1162/dram_a_00457.

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Germany’s FIDENA puppetry festival’s provocative offerings, with shows drawn from visual arts and dance, without traditional puppets at their center, prompts reflections on the shifting boundaries of puppetry arts, the new notion of “material performance,” and, within this new rubric, the continuance of elements essential to puppetry.

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23

Schuster, Michael. "Visible Puppets and Hidden Puppeteers: Indian Gombeyata Puppetry." Asian Theatre Journal 18, no. 1 (2001): 59–68. http://dx.doi.org/10.1353/atj.2001.0008.

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24

Schumann, Peter. "The Bread and Puppet Theatre in Nicaragua, 1985." New Theatre Quarterly 5, no. 17 (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 an

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25

McCallum, John. "The Space Between: The Art of Puppetry and Visual Theatre in Australia. By Peter J. Wilson and Geoffrey Milne. Sydney: Currency Press, 2004. Pp. x + 134 + illus. AUS$49.95 Pb." Theatre Research International 30, no. 3 (2005): 302–3. http://dx.doi.org/10.1017/s0307883305271699.

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26

Sera, Mareike. "Jan Švankmajer’s Don Šajn (1970): Puppets as intimate objects." Animation 13, no. 1 (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 phe

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27

Siti Muslifah, Rustopo, and Sarwanto. "The Existence and Change of Wayang Potehi in Gudo, Jombang." IICACS : International and Interdisciplinary Conference on Arts Creation and Studies 2 (April 6, 2020): 90–95. http://dx.doi.org/10.33153/iicacs.v2i1.21.

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Wayang Potehi is a traditional puppet show art performance originating from Southern China. Performing arts in the form of Chinese puppets that entered the archipelago along with Chinese ethnic immigration from mainland China. There are estimates that the roots of Wayang Potehi have evolved more than 3000 years. Stronger historical evidence showing the existence of the Wayang Potehi in China has existed since the Jin dynasty (265-420 AD). Wayang Potehi in Indonesia at the time had experienced the glory and helped colour the cultural diversity that existed in Indonesia. The political phenomenon

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28

Irawanto, Rudi, A. A. Ngurah Anom Kumbara, I. Nyoman Suarka, and I. Ketut Darmana. "ARTICULATION OF THE JAVANESE ISLAMIC MYTHIC IDEOLOGY IN THE KRUCIL KEDIRI PUPPETS." E-Journal of Cultural Studies 15, no. 1 (2022): 1. http://dx.doi.org/10.24843/cs.2022.v15.i01.p01.

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The Cipto Manunggal Kebatinan Community is a mystical community that has developed in the Kediri area of ??East Java, which strengthens its ideological identity through the Krucil puppet art. Krucil is constructed as a performing art from the kebatinan community, which displays the concepts in the kebatinan teachings they profess. The main concepts in kejawen teachings are reconstructed through symbols in the Krucil puppets, so that the core concepts in kejawen teachings have new meanings. This study uses a critical ethnographic approach to dissect the ideological concepts in the wayang Krucil

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29

Masunah, Juju, Putri Lilis Dyani, Vanessa Gaffar, and Maya Sari. "Production of Shadow Puppet Performances in Building Artistic Entrepreneurship." Journal of Sustainable Tourism and Entrepreneurship 3, no. 2 (2021): 89–100. http://dx.doi.org/10.35912/joste.v3i2.1221.

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Abstract: Purpose: This research describes the efforts to promote entrepreneurial motivation through shadow puppet performances. Research Methodology: This research used a project-based approach, and the activities are initiated by: 1) diagnosing the problems of performing arts entrepreneurship, 2) creating art incubation designs, 3) implementing activity plans, and 4) evaluating activities through performances. The participants were students with educational backgrounds in dance, music, and fine arts at Universitas Pendidikan Indonesia, as well as partners in the Indigo Moon Theater, a commun

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30

Pudjastawa, Astrid Wangsagirindra. "Coastal Community Perceptions of the Purwa Shadow Puppet Performing Art." LITE 18, no. 1 (2022): 27–33. http://dx.doi.org/10.33633/lite.v18i1.5495.

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The purpose of this study was to determine the perception of coastal communities towards the art of wayang kulit purwa performances and examine the community's role in supporting the existence of the arts to survive and develop, using a qualitative method with a descriptive approach that uses observation and interview techniques with 25 residents of Masangan Village, Bungah, Gresik Regency and 2 puppeteers as resource persons. The results of this study indicate that (1) there are social and economic characteristics of the coastal community, (2) the perception of the coastal community towards a

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31

Wiśniewska, Marzenna. "On Hybridity in Puppetry." Performance Research 25, no. 4 (2020): 56–64. http://dx.doi.org/10.1080/13528165.2020.1842032.

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32

Virulrak, Surapone, and Kathy Foley. "Hun: Thai Doll Puppetry." Asian Theatre Journal 18, no. 1 (2001): 81–86. http://dx.doi.org/10.1353/atj.2001.0010.

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33

Episale, Frank. "The Emerging Puppetry Renaissance." PAJ: A Journal of Performance and Art 29, no. 2 (2007): 59–65. http://dx.doi.org/10.1162/pajj.2007.29.2.59.

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34

Kruger, Marie. "Social Dynamics in African Puppetry." Contemporary Theatre Review 20, no. 3 (2010): 316–28. http://dx.doi.org/10.1080/10486801.2010.488843.

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35

Foley, Kathy. "Puppetry: A World History (review)." Asian Theatre Journal 23, no. 2 (2006): 421–22. http://dx.doi.org/10.1353/atj.2006.0022.

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36

Arnoldi, Mary Jo. "Puppet Theatre: Form and Ideology in Bamana Performances." Empirical Studies of the Arts 4, no. 2 (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 i

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37

Skipitares, Theodora. "A New Aesthetic in Indian Puppetry." PAJ: A Journal of Performance and Art 35, no. 3 (2013): 61–68. http://dx.doi.org/10.1162/pajj_a_00162.

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38

Astles, Cariad. "Puppetry training for contemporary live theatre." Theatre, Dance and Performance Training 1, no. 1 (2010): 22–35. http://dx.doi.org/10.1080/19443920903478513.

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39

Tugimin, Tugimin. "KARAKTER SUMBERDAYA MANUSIA DAN PENGARUHNYA TERHADAP PEMASARAN BARANG PRODUKSI: STUDI KASUS PADA PENGRAJIN KULIT DI BANTUL YOGYAKARTA." Jurnal Riset Manajemen dan Bisnis 10, no. 1 (2015): 71. http://dx.doi.org/10.21460/jrmb.2015.101.356.

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ABSTRACT The craft of a leather puppet in the district Bantul, Province Yogyakarta Special Region in its development experienced tides. Success retreival craft leather puppet skin strongly influenced by among other things, trend with the market demands quality goods, distinctness, value and price. But there is a vital need reckoned that human resources leather puppet characters handicraftsman skin also had an influence upon the way forward in sell their products. So far the role of the craftsman and forced them to market own goods their craft. Idealism character basic craftsman who pushes art

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40

Clark, Bradford Burton. "Putul Yatra: A Celebration of Indian Puppetry." Asian Theatre Journal 22, no. 2 (2005): 334–47. http://dx.doi.org/10.1353/atj.2005.0018.

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41

Cohen, Matthew Isaac. "Puppetry and the Destruction of the Object." Performance Research 12, no. 4 (2007): 123–31. http://dx.doi.org/10.1080/13528160701822742.

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42

Orenstein, Claudia. "Exploring the Diversity of Japanese Traditional Puppetry." Asian Theatre Journal 39, no. 2 (2022): 303–36. http://dx.doi.org/10.1353/atj.2022.0021.

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43

Astles, Cariad. "Wood and Waterfall: Puppetry training and its anthropology." Performance Research 14, no. 2 (2009): 54–59. http://dx.doi.org/10.1080/13528160903319521.

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44

Awasthi, Suresh, and G. Venu. "Puppetry and Lesser Known Dance Traditions of Kerala." Asian Theatre Journal 10, no. 1 (1993): 118. http://dx.doi.org/10.2307/1124221.

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45

Rizqiya, Rissa San. "PRINCIPLE OF MUTUAL CONSIDERATION IN SUNDANESE CULTURE (An Analysis on Sundanese Puppet Show entitled Kitab Sastra Jendra Rahayu Ningrat by Asep Sunandar Sunarya)." ELTIN JOURNAL, Journal of English Language Teaching in Indonesia 5, no. 1 (2017): 27. http://dx.doi.org/10.22460/eltin.v5i1.p27-34.

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Politeness is defined as language use or communication in order to avoid humiliation of both speaker and hearer. Deference refers to the use of language to show respect after considering aspects that urge the speaker to do so. The goal of deference is to satisfy the hearer (facesatisfying act). Deference and politeness are sometimes mixed up between one another (Aziz, 2008). The Principle of Mutual Consideration is offered by Aziz (2008)to complete the existing politeness theory. It is based on the causality law, which means a speaker should consider the result that may occur that is caused by

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46

Bell, John. "Puppets, Masks, and Performing Objects at the End of the Century." TDR/The Drama Review 43, no. 3 (1999): 15–27. http://dx.doi.org/10.1162/105420499760347298.

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47

Brehm, Kate. "Seeing Puppetry: Winter Report from New York City." PAJ: A Journal of Performance and Art 45, no. 1 (2023): 22–33. http://dx.doi.org/10.1162/pajj_a_00638.

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48

Foley, Kathy, and Noel Singer. "Burmese Puppets." Asian Theatre Journal 11, no. 1 (1994): 140. http://dx.doi.org/10.2307/1124390.

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49

Hunt, Tamara, and Roberta Helmer Stalberg. "China's Puppets." Asian Theatre Journal 3, no. 1 (1986): 138. http://dx.doi.org/10.2307/1124588.

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50

Stanley, N. J. "History As Theme Park: Reconfiguring the Human Journey in the Art of Theodora Skipitares." TDR/The Drama Review 47, no. 2 (2003): 34–70. http://dx.doi.org/10.1162/105420403321921238.

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For over 25 years, Theodora Skipitares has been the art world's investigative reporter turned sociocultural critic—conceiving, designing, and directing productions that materialize her passionate and critical interest in history. Although in recent years Skipitares has used actors, puppets and performing objects remain her main artistic vehicles. Skipitares fluctuates between the miniature and the monumental. She continues to use unexpected media to convey very vital messages that use the past to illuminate the present.

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