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Journal articles on the topic 'Puppetry [performing arts]'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

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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2

Rosyada, Amrina, Dendi Pratama, and Widya Widya. "Independent Learning Through Youtube: Puppetry Arts Learning for The Duo Puppeteer Brothers." Deiksis 14, no. 1 (2022): 19. http://dx.doi.org/10.30998/deiksis.v14i1.9997.

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As one of the Indonesian honors, puppetry arts are supposed to be socialized and preserved for future generations. It needs creative, interactive, and digital-based media due to the fast and unstoppable global changes. This research aimed to demonstrate the use of YouTube as one of the interesting and interactive media platforms in learning the puppetry arts independently for the duo puppeteer brothers, Prama and Rafi. By applying a qualitative research design with narrative analysis, this research had literally observed, virtually interviewed, and digitally documented a set of questionnaires

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3

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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4

Watts, Allan, and Ann Wilson. "Editorial." Canadian Theatre Review 95 (June 1998): 3. http://dx.doi.org/10.3138/ctr.95.fm.

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Canada, as this issue of CTR indicates, has a richly diverse culture of puppetry. As many of the contributors emphasize, puppetry can be very simple; no wonder, then, that many of Canada’s internationally renowned puppeteers first came to love puppets as children who fashioned their first puppets from sticks, cloth, paper bags and crayons.

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5

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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6

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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7

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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8

Duchscherer, Brian. "Playing With Dolls: A Personal Reflection on a Career." Canadian Theatre Review 95 (June 1998): 21–23. http://dx.doi.org/10.3138/ctr.95.005.

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I work in the film business, making animated films with puppets. These films are not cartoons, yet neither are they quite live puppetry; they are a blend of both. Puppet animation is a performance, as much as any live presentation is; but it is a performance that is recorded in time, frame by frame. The moving, living character exists only on film. The puppet performance must somehow be created outside of time. Each second of movement is broken down into as many as twenty-four separate poses. The animator must live … feel … and act … in small steps of time.

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9

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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10

McCormick, John. "Dramaturgy for the puppet theatre yesterday and today." Dramaturgias, no. 16 (April 13, 2021): 16–29. http://dx.doi.org/10.26512/dramaturgias16.37472.

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Until the twentieth century notions of dramaturgy were closely bound up with the Poetics of Aristotle, often leaving out of account less ‘regular’ forms from Shakespeare to the melodrama. From the 17th to the 19th century live actors and puppets could be virtually interchangeable, performing the same or similar repertoires. Adaptation of plays from the actors’ theatre was the general rule. Comparatively few authors wrote directly for the puppet stage, and when they did it was usually under special circumstances. In the nineteenth century a juvenile market began to grow, Two main streams in Eur

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11

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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12

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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13

McKay, Ken. "Puppetry in Education." Canadian Theatre Review 95 (June 1998): 10–12. http://dx.doi.org/10.3138/ctr.95.002.

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Educators have long appreciated the potential of puppetry as an effective teaching vehicle and as an enhancement to the curriculum. Puppets have been used to teach at all levels, and although in North America we think of them as being primarily suited for entertainment for young children, for years they have been used in teaching religious concepts and traditions, in preparing patients for hospital experiences and surgical procedures and in subtle forms of indoctrination and propaganda.

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14

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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15

Firmansyah, Lutfi, and Taufan Hidayatullah. "The Evolution of Tegal's Wayang Cepak: Historical Perspectives and Contemporary Transformations." ARTic 6, no. 1 (2023): 549–58. http://dx.doi.org/10.34010/artic.v6i1.10902.

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Wayang Cepak Tegal is a traditional performing art that has strong historical roots in Tegal City, Central Java, Indonesia. Over time, Wayang Cepak Tegal has undergone significant changes. Wayang Cepak Tegal experienced changes in form due to the influence of changes in human culture caused by technological advances that encourage contemporary transformation in the Tegal Cepak puppet show, these changes can be seen especially in terms of changes in characters, dimensions of form and duration of the show as well as the use of technology in the Tegal Cepak puppet show. Based on this, the researc

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16

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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17

Ashby, James B. "Bridging the Gaps: The Puppets Up! International Puppet Festival." Canadian Theatre Review 138 (March 2009): 33–38. http://dx.doi.org/10.3138/ctr.138.006.

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Puppet artists, from the fatherly Geppetto in The Adventures of Pinocchio to the more troubled Craig Schwartz in Being John Malkovich, are often represented as loners, pursuing their chosen art without any outside aid. The solitary puppet artist certainly exists, but as Steve Tillis points out, “[T]he opportunity for control that puppetry offers the artist is frequently taken up less for artistic reasons than for financial ones, at least in America”; and the situation is not markedly different in Canada: “[I]t is often only by working alone that an artist can earn a living” (33). Even the lone

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18

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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19

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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20

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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21

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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22

Jurkowski, Henryk. "Recenzja książki «The Routledge Companion to Puppetry and Material Performance»." Pamiętnik Teatralny 65, no. 1/2 (2016): 318–31. http://dx.doi.org/10.36744/pt.1982.

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Recenzja omawia The Routledge Companion to Puppetry and Material Performance jako wartościową publikację na temat teatru lalek, a także wybór referatów wygłoszonych podczas Puppetry and Postdramatic Performance International Conference on Performing Objects in the 21 Century, która odbyła się na Uniwersytecie Connecticut w kwietniu 2011 roku. Książka została zredagowana przez Johna Bella (Ballard Institute Museum of Puppetry), Claudię Orenstein (Hunter College) oraz Dossię N. Posner (Northwestern University). Tom zawiera teksty dwudziestu ośmiu autorów podzielone na trzy części: 1. Teoria i pr

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23

Shiddhiqy, Ahmad Maulana Iqbal. "The Educational Value Of Wayang Kulit Gagrak Porongan." Santhet (Jurnal Sejarah Pendidikan Dan Humaniora) 8, no. 2 (2024): 1877–86. https://doi.org/10.36526/santhet.v8i2.4215.

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This study aims to analyze the educational values contained in the Porongan puppet show, as well as explore the contribution of puppeteer Ki Suwoto Ghozali in developing the art of puppet puppetry in Porongan. The research method used is the ethnographic historical method. The primary source is taken from the biographical records of the puppeteer Ki Suwoto Ghozali in the form of audio and video recordings of puppet performances and strengthened through interviews with students and followers of Ki Suwoto Ghozali. Secondary sources are in the form of analysis of various journal articles and lite

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24

Kausar, Sania, and Gulzar Ahmad. "Perceived Stress, Self-Efficacy and Psychological Wellbeing Among Performing Arts Students." Academic Journal of Social Sciences (AJSS ) 5, no. 3 (2021): 289–302. http://dx.doi.org/10.54692/ajss.2021.05031509.

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Performing arts is important means of creative communication such as music, dance, drama, mime, puppetry, circus, illusion, magic, etc. Professionals may come across various difficulties, stresses, and issues of psychological wellbeing but, a little research on this subject is done in Pakistan. The objective of this study was to examine the relationship of perceived stress, self-efficacy, and psychological well-being among performing arts students. The sample comprised 203 (111 acting and 92 singing) performing arts students recruited from different colleges and universities of Pakistan. Simpl

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25

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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26

Kloetzer, Laure, and Ramiro Tau. "Teaching and learning online through performing arts. Puppetry as a pedagogical tool in higher education." Scenario: A Journal for Performative Teaching, Learning, Research XVI, no. 2 (2022): 1–20. http://dx.doi.org/10.33178/scenario.16.2.1.

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Due to the coronavirus disease 2019 (COVID-19) pandemic, a Swiss university course called “Psychology and Migration” had to move online over the Spring semester 2021. In this course, Psychology and Education students learn about the sociocultural considerations of migration, through a theoretical, personal and artistic exploration of the subjective experience of migration, based on performing arts. As part of the main pedagogical strategies, students are invited to collectively create a short theatre play based on some selected literary texts. Under the conditions imposed by the pandemic, pupp

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27

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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28

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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29

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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30

Rudy Wiratama and Sindung Tjahyadi. "Wayang Gajah Mada In Visual And Performing Arts: Research-Based Innovation of Javanese Puppetry and its Reception in the Academic and Artistic Environments." Terob : Jurnal Pengkajian dan Penciptaan Seni 14, no. 2 (2024): 101–16. http://dx.doi.org/10.20111/terob.v14i2.68.

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Wayang Gajah Mada (WGM), named after its main character and also the initiator university, was one of a few Javanese puppetry which used historical chronicles as its repertoire.This genre of wayang was designed from 2017 and has been performed several times both inside and outside the Universitas Gadjah Mada with various formats, from pakeliran multimedia to a conventional pakeliran semalam (all-night performance). Aside of its particular repertoires that depicted the biography of Mahapatih Gajah Mada, the team of Universitas Gadjah Mada also designed a special figures for the performances, wh

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31

Wiame, Aline. "Deleuze’s “Puppetry” and the Ethics of Non-human Compositions." Maska 31, no. 179 (2016): 60–67. http://dx.doi.org/10.1386/maska.31.179-180.60_1.

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While the presence of marionettes and automata in contemporary performing arts can sometimes manifest the fear of a loss of life and humanity due to the mechanization of our societies, this article calls for a more constructivist approach to the question. With the help of Gilles Deleuze’s propositions about marionettes and Heiner Goebbels’ performance Stifters Dinge, this paper aims to show that puppets and automata are invitations to create and compose new possibilities of being, sensing, thinking and resisting in a world made of human and non-human elements that constantly mix.

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32

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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33

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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34

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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35

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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36

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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37

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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38

Plassard, Didier. "The ERC PuppetPlays project : contribution for a non-linear history of the European theatre." Open Research Europe 3 (May 2, 2023): 72. http://dx.doi.org/10.12688/openreseurope.15807.1.

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This article is a presentation of the ERC Advanced Grant project PuppetPlays - Reappraising Western European Repertoires for Puppet and Marionette Theatre (GA 835193). After a short overview of the project itself, it begins with a definition of puppetry, based on the phenomenon of double vision. Then it explains the choice of the corpus limitations, describes the variety of the available resources, and underlines the great discrepancy in the amount of material available in the different countries. The article continues with a brief overview of the role played by puppetry in the wider frame of

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39

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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40

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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41

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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42

Morrow, Jim. "Mermaid Theatre and its Place in Canadian Puppetry." Canadian Theatre Review 95 (June 1998): 13–16. http://dx.doi.org/10.3138/ctr.95.003.

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Mermaid Theatre’s evolution as one of Canada’s foremost theatres for children and their families owes much of its success to its uncomplicated philosophy: tell a good story, tell it simply, tell it well and tell it often. Since its inception in 1972, Mermaid has been touring its unique brand of storytelling throughout Nova Scotia, Canada and beyond to more than two million children and their parents. The company has travelled from the coast of Newfoundland to Vancouver Island, from Alaska to Florida, from Mexico to Japan, from Australia to Northern Ireland. In an average year, Mermaid Theatre

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43

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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44

Bagaskara, Akbar, Umilia Rokhani, and Septiana Wahyuningsih. "Cultural Encounters: Puppetry Performing Arts (Wayang) and Dangdut Music as a Reflection of India-Indonesia Integration." International Journal of Cultural and Art Studies 8, no. 1 (2024): 27–36. http://dx.doi.org/10.32734/ijcas.v8i1.15333.

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The purpose of this research is to reveal the relationship or social and cultural influence of the Indian nation on the expression of performing arts (wayang) and dangdut music in Indonesia. The hope of this research is to increase public awareness of the identity of national performing arts and music, which is rarely realized to be heavily influenced by Indian culture. Specifically, the aspects examined in this research include changes in the content of stories from Indian epics in the adaptation of Indonesian performing arts, as well as dangdut music that adapts the energetic spirit of music

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45

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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46

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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47

Kruger, Marie. "The Relationship between Theatre and Ritual in the Sogo bò of the Bamana from Mali." New Theatre Quarterly 25, no. 3 (2009): 233–40. http://dx.doi.org/10.1017/s0266464x09000414.

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The Sogo bò, primarily an animal masquerade, can be distinguished from Western theatre through its use of a fluid space with shifting boundaries between spectator and performer. An oral tradition dictates the characterization, scenario, and content. The resemblance to ritual can be found in structural elements such as its repetitive nature and the use of non-realistic performance objects and motions. As in ritual, there is a clear sense of order, an evocative presentational style, and a strong collective dimension. The functional resemblance lies in the complex metaphorical expression through

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48

Rewa, Natalie. "Seeing Theatre." Canadian Theatre Review 70 (March 1992): 3. http://dx.doi.org/10.3138/ctr.70.fm.

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In 1979 the Associated Designers of Canada published a catalogue of their exhibition for the Prague Quadrennial. The work of five designers, seven puppetry troupes and ten architectural projects from across Canada was chosen to celebrate what Tom Doherty, then president of the ADC, called a “distinctly Canadian attitude to theatre”.

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49

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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Chen, Fan Pen Li, and Bradford Clark. "A Survey of Puppetry in China (Summers 2008 and 2009)." Asian Theatre Journal 27, no. 2 (2010): 333–65. http://dx.doi.org/10.1353/atj.2010.a413122.

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