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Journal articles on the topic 'Puppets'
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1
Nurhayati, Endang, Mulyana Mulyana, Siti Mulyani, Hardiyanto Hardiyanto, and Doni Dwi Hartanto. "DINAMIKA BUDAYA PEWAYANGAN KE ARAH DUNIA REALITA DALAM WAYANG PESISIRAN." Diksi 29, no. 2 (September 27, 2021): 137–48. http://dx.doi.org/10.21831/diksi.v29i2.39762.
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(Title: The Dynamics of Puppet Culture Towards The World of Reality in Wayang Pesisiran). The world of puppetry is so attached to Javanese society where the changes of the times does not detract from the existence of puppets in Javanese people's lives. This study aims to describe the characteristics of coastal puppets and the dynamics of puppet culture towards the world of reality in coastal puppets using qualitative approaches. The data source used is a video of coastal puppets and interviews to Ki Kartono. Data is collected by means of listen, record, and interview. The data analysis used was the qualitative analysis of Miles &Huberman (1992). Based on the results of research, coastal puppet shows always begin by introducing the mission of the show and introducing the main characters in the play to be told. The cultural dynamics of puppetry towards the world of reality in coastal puppets contain at least six dynamics, namely: a) religious; b) greetings; c) the territory of the country; d) socio-cultural; e) the growth of life (kasampurnaning dumadi); and f) employment. The dynamics that occur in the world of puppetry indicates the dynamic in Javanese puppetry in an effort to continue to maintain its existence in modern times today. Keywords: cultural dynamics, the world of reality, wayang pesisiran
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Wang, Chao-Ming, and Shih-Mo Tseng. "Design and Assessment of an Interactive Role-Play System for Learning and Sustaining Traditional Glove Puppetry by Digital Technology." Applied Sciences 13, no. 8 (April 21, 2023): 5206. http://dx.doi.org/10.3390/app13085206.
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As an ancient performing art, the puppet show was popular entertainment for early civilians. However, with the advance of media technology, traditional puppetry declined gradually, and old puppets became relics displayed in museums. In this study, an interactive role-play system for learning and sustaining traditional glove puppetry is proposed. Constructed with RFID and multimedia techniques to replace the traditional static displays of puppetry, the proposed system allows in-person experiencing of operating real puppets of famous roles. Statistical analyses of the comments collected from expert interviews and the users’ answers to a questionnaire survey lead to the following findings: (1) it is easy to understand and operate the puppets as physical interfacing with the system; (2) the interactive system design conforms to the 3E indicators of easiness, effectiveness, and enjoyableness; (3) the users’ experiences of role-plays emulating experts’ puppet shows help learn the knowledge and skills of the traditional puppetry; (4) in-person operations of real puppets and experiences of RFID-based interactive interfacing bring the users feelings of pleasure and senses of achievement as puppet performers; and (5) the content designs and operations of the puppet characters can turn into a fine material for learning the traditional puppetry.
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Lisdawati, Ida. "THE SUNDANESE PUPPETS APPEARANCE AS THE REPRESENTATION OF THEIR CHARACTERS IN MAHABHARATA PLAY." Acuity : Journal of English Language Pedagogy, Literature and Culture 2, no. 1 (January 1, 2017): 1–9. http://dx.doi.org/10.35974/acuity.v2i1.593.
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This study not only aims to introduce Sundanese culture which is part of Indonesian culture, but also analyses the phenomenon that exists in Sundanese puppets performance as one of the entertainment for the Sundanese people with Semiotic. In this study, the researcher analyzed two factors that determined the result of this research. Firstly, the researcher found the role of color as a kind of pictorial metaphor. In each puppet, it will be seen whether the dominant color of puppet represents the characteristics corresponding to the color or has a significant difference. The secondly, the researcher analysed the appearance of each puppets. This research used four puppets from category of Panakawan, two puppets from category of Knight, and two puppets from category of Giant. Qualitative method is used for describing the result and the result showed that almost puppets appearance represented their character except Cepot that also known as Astrajingga. His appearance did not represent his characteristic especially his color face. Keyword Semiotics, Sundanese puppets, color of Sundanese puppetÂ
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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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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 European puppet theatre are: 1. puppets used in conjunction with story-telling and 2. puppets as substitutes for the live actor. The fact that the puppet is usually a small humanoid figure means that it has always been a valuable vehicle for parody and satire. The theatrical avant-garde that came onto existence in the late 19th century had an enormous impact on puppetry and the direct links between the puppet and the human began to disappear. Gordon Craig’s idea of the complete man of the theatre, which led to the modern one of the director, changed the whole concept of the puppeteer who ceased to be a mere operative becoming instead a creative artist in his or her own right. Increased exposure to other artistic forms, notably the visual arts, also resulted in an increasing divergence of puppetry from mainstream theatre and eventually the puppet theatre, instead of following the actors’ theatre, has come to be a leader in contemporary experimental and alternative theatre.
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-, Suyanto, and Aris Setiawan. "Shadow Puppets In The Hands Of The Young Puppeteers: Loss Of Philosophy Value." Mudra Jurnal Seni Budaya 37, no. 4 (October 17, 2022): 358–67. http://dx.doi.org/10.31091/mudra.v37i4.2049.
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This study aims to actualize philosophical values in shadow puppets performances for the puppeteer and the younger generation. The object of this research is a shadow puppets performance by young puppeteers in Surakarta and its surroundings. Recently, many young puppeteers have appeared arrogantly on stage, for example: standing up and trampling puppet with their feet, throwing puppet off the stage, cursing or saying rude things, exploiting sexual objects for jokes. Whether we realize it or not, one of the causes of this phenomenon is the gap in understanding the philosophical values of puppetry. Data collection methods in this study were the observation of performances and interviews, while to understand the meaning of symbols captured in shadow puppets performances, the method of understanding meaning was used. The notion of "understanding the meaning" in this context is how meaning can be captured from the puppeteers' expressions, either in the form of sabet (puppets movement), catur (puppeteer vocals), and music presented. The result of this research is an attempt to find the factors that influence the tendency of the young puppeteers to express freely. Finding the factors that influence the more youthful generation tends to like glamorous entertainment alone—actualizing philosophical values in shadow puppets according to the contemporary point of view. The ability of the puppeteers to present messages through shadow puppets performances should have direct implications for his personality, in addition to being a means of mass communication that can reach all levels of society (audience) in general.
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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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Hadiprayitno, Kasidi. "Estetika Wayang." Jurnal Budaya Nusantara 1, no. 1 (June 1, 2014): 31–39. http://dx.doi.org/10.36456/b.nusantara.vol1.no1.a282.
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The basics are the puppet aesthetic perspective of the relation elements of beauty in the unity of the structure of the wayang. Understanding the true aesthetic beauty rests on the concept of thought that developed and followed by Western thinkers, however, in the operatate of implemeta- tion still refer to terms that are known in the art of traditional puppet convention. Not all data in the beauty of the puppets can be presented in this short article, but limited to the aspects of beauty essentials only such convention and modernity in the universe puppet, puppet or convention in the art of puppetry, in the currency of view of the puppet, and aesthetic concepts in art puppetry and puppetry.
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Platz, William. "Drawing with numb hands: Dexterity and draughtspuppets." Drawing: Research, Theory, Practice 6, no. 1 (April 1, 2021): 69–81. http://dx.doi.org/10.1386/drtp_00051_3.
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This essay is part of a wider research project that has introduced puppets into the drawing studio. Puppets are odd operators, and this is an unorthodox approach to drawing research. In this case, eccentricity is appropriate given that orthodoxies of skilfulness and good drawing are the subject of investigation. Unlike other contemporary practices that utilize puppetry as subject matter, motif and narrative device, this project invites draughtspuppets to make drawings. These draughtspuppets are distinct from automata and other drawing machines, and these distinctions are outlined. The paper focuses on the virtue and value of dexterity. In drawing and in puppet manipulation, dexterity brings scrutiny to the hands as the primary site of action and queries the relationship between ‘good hands’ and ‘good drawing’. The text begins by connecting traditions of dexterity, manipulation, drawing and puppetry before delving into the essence of puppets – their animism and (semi-)autonomy – and the tacit implications of dextrous hands. This article asks the question: can puppet ontologies expose the value of dexterity as a procedural component of (good) drawing? Connecting a range of puppet scholarship, the author’s interactions with the draughtspuppets and over 25 years of teaching experience, this article finally argues for the productive capacity of draughtspuppets to transform orthodox beliefs about the tenets of dexterity and good drawing. In the final passage, the motifs present in the draughtspuppets’ recent drawings are briefly analysed and correlated with this examination.
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Helmanda, Cut Mawar, Rahmatun Nisa, and Meutia Zahara. "PUPPET MAGIC: TRANSFORMING STORYTELLING INTO ENGLISH EXCELLENCE FOR ENGLISH YOUNG LEARNERS." Proceedings of International Conference on Education 2, no. 1 (April 1, 2024): 1–9. http://dx.doi.org/10.32672/pice.v2i1.1309.
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The purpose of this project is to investigate how well puppetry works as a storytelling media for young learners, by focusing on what opinions do the students have about using puppets to present stories. knowing how puppetry functions in language learning can lead to more interesting and successful teaching strategies.This study used a qualitative way to answer the question.This research was carried out in SD Negeri 1 Muhammadiyah Banda Aceh.The writers believed that an interview was the best instrument to utilize because this study involved first-grade elementary school studentsUsing puppets as a medium takes advantage of first-graders’ receptiveness to multimodal experiences while acknowledging their developmental stage. The goal is to create a more dynamic and productive learning environment where the use of puppets stimulates students’ attention and helps them comprehend the stories that are being told.The overall perception of the young learners who involved in this study is that they enjoyed actively listening to the narrative story and closely paying attention when it incorporated media- puppet - into the story. This finding implies that it is crucial for English teachers working with young students to vary their concrete media, and using puppets is just one way to do this.
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Kovše, Tea. "The triumph of the Puppet: the Victory of Death is a Blow to Life. The Movement of Life and Death in the Opus of Silvan Omerzu." Maska 31, no. 179 (September 1, 2016): 100–113. http://dx.doi.org/10.1386/maska.31.179-180.100_1.
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The puppets of Silvan Omerzu problematise life by staging death. In his 20 years of making puppet shows for adults, the puppet has travelled from the grotesque image, rapid movement and playful violence to the ascetic minimalistic world, both in its image and its movement. Omerzu’s latest show, Salto mortale, depicts the immortality of puppets. This complex puppet world can be described by Das Unheimliche, which best captures the staging of death no matter whether it is carried out in a playful, mysterious or anxious atmosphere. Silvan Omerzu’s puppets show the victory of death or the victory of puppets over death, thus staging our captivity within life.
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Sutcharitpan, Peerapong, Chettha Muhamad, Daycho Khaenamkhaew, Boonying Pratum, Damrongphun Jaihoweweerapong, and Peeradaw Sutcharitpan. "Mechanism of Cooperation between Shadow Puppet Networks and Cultural Entrepreneurs in Raising the Community Economy and Local Awareness of the Cultural Market Area in front of Wat Phra Mahathat Woramahawihan, Nakhon Si Thammarat Province, Thailand." Parichart Journal, Thaksin University 36, no. 1 (January 5, 2023): 162–81. http://dx.doi.org/10.55164/pactj.v36i1.259209.
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In this paper, we studied the mechanism of cooperation between shadow puppet networks and cultural entrepreneurs in raising the economy of the community and local awareness. It was found that the shadow puppet groups in Nakhon Si Thammarat still exist in large numbers. At present, shadow puppet has been distributed in various established associations and one of them is the Southern Shadow Play Association. Nakhon Si Thammarat Provincial Folk Artist Association and the Federation of Folk Artists cause communication problems; therefore, the researcher studied the network of shadow play. It appears that, at present, shadow consists of the Master of Shadow Puppet Show, the shadow puppet parents’ teacher, the Teacher, and the Youth Puppet Show. From the discussion on the shadow puppet network, it found that the network was organized by having the shadow puppet show host of each district as a coordinator, under the cooperation mechanism of the shadow puppet network and cultural entrepreneurs. This mechanism for cooperation in the manner, “The bloodline of the teacher of shadow puppet” aims to support and promote research for the faculty of shadow puppets in the South to be uniform. There is empowerment in transferring knowledge to the local areas. Promoting the performance of shadow puppets will lead to an increase in income and will also raise awareness about shadow puppetry, preserving traditions and culture to consciously promote, carry on, and preserve shadow puppetry from one generation to another and create cooperation between shadow puppet faculties and other organizations
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Halim, Ethannael, Jonathan Russel, and Kevin Nathanael. "Analysis on Laika’s Puppets in Kubo and the Two Strings: A Stop-motion Animated Feature." IMOVICCON Conference Proceeding 2, no. 1 (July 6, 2021): 46–53. http://dx.doi.org/10.37312/imoviccon.v2i1.35.
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Stop-motion is one of the highly regarded animation/film techniques in the industry. Although infamous for its long production time, stop-motion can take advantage of literally every other artform and technology. But, one medium that stop-motion never strays far from is puppetry. This is because puppets can easily be made to resemble living beings. Also, they are reusable. In this digital age, efficiency and effectiveness became the top priorities in any form of production. In this context, puppet animation (puppetry in stop-motion) is considered too pricey and not ideal for the rapid competition happening throughout the industry. This is why the genre started to fade in the ‘90s. Fortunately, a western animation studio bearing the name Laika brought puppet animation back to life, making the genre popular again. Their works reached the hearts of their audience through smooth animation, breathtaking visuals, and cool-looking puppets. This may seem like a mere pipe dream for their predecessors, but Laika has done it with the help of cutting-edge technology — making the production process way cleaner than ever. As time keeps on flowing, innovations and new ideas are needed to sustain creativity and value in the industry. Therefore, this journal is a study to prove how relevant Laika’s innovative puppets are in the stop-motion world. All data used in this journal is acquired through literary studies across the online web.
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Long, Yanghuan, and Chen Fan. "Belief in Drama: A Study of the Religious Factors in Ancient Chinese Puppet Dramas." Religions 14, no. 7 (June 29, 2023): 857. http://dx.doi.org/10.3390/rel14070857.
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Puppets, a kind of wooden figure whose movements are manipulated by artists, were frequently used in ancient Chinese singing and dancing activities and dramas. The uniqueness of substituting human beings for puppets has drawn tremendous attention from scholars. However, despite previous research on the long development process of puppet dramas, a considerable number of details remain neglected, and behind these details lies an abundance of complicated religious factors. Therefore, this paper uses several fragments as entry points in terms of puppet dramas’ modeling, materials, craft, rites, function, artists, organization, and other aspects to comprehensively analyze the influence of witchcraft, Daoism, and Buddhism on China’s puppet dramas. This research first unveils that a ferocious appearance and mahogany as a material, both used in puppets, are outer manifestations to reveal the magical power of witchcraft. Next, the rites performed in Li Yuan Jiao using ritual puppets were characterized by mystery in their implication and ambiguity in their religious sect, which was related to the attempt to hide their notorious identities as wizards on the part of the artists. Third, general puppet artists enjoyed a fairly high social status, conferred by their semi-religionist identity and the puppet dramas’ historical status. Finally, the improvement in the puppet-making process and the emergence of skeleton-style puppets embody the secularization of the spread of Buddhism.
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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 puppets. On this platform, we construct the single-user-game-based digital learning system of puppet shadow. We design situational challenge competitions and interactive games to enhance the quality and pleasure of learning.
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Bonczidai, Dezső. "Mérföldkövek a Vitéz László bábfigura keletkezéstörténetében." Theatron 15, no. 3 (2021): 102–16. http://dx.doi.org/10.55502/the.2021.3.102.
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In the history of Hungarian marketplace puppetry, the multi-generational activity of the Korngut-Kemény puppetry dynasty is welded to the clarification and purification of the character Vitéz László, alongside the components of the traditional family show, the language, style, and method of the performance. The paper examines the specificities of the marketplace culture and the marketplace puppetry screen, the context of the Városliget and Népliget fun-fairs in Budapest, the emergence of the Vitéz László puppet character, as well as the Vitéz László puppets belonging to the Hincz and the Korngut-Kemény families.
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Liasari, Devi, and Badrun Badrun. "Integrasi Islam dan Kebudayaan Jawa dalam Kesenian Wayang." Local History & Heritage 2, no. 1 (May 15, 2022): 31–37. http://dx.doi.org/10.57251/lhh.v2i1.325.
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Puppets are culture product which contain aesthetic arts inside them and they serve as a show and life guidance. Puppets are close with Javanese culture, because by learning and understanding puppets, it is become a requirement for absorbing Javanese culture. When religion enters the cultural field, religion becomes the heart of culture. Islam tried to incorporate its moral values within Javanese culture through puppets without eliminating its essence, so it creates integration of religion and culture. The writer is interested to examine and analyze the study of integration between Islam and Javanese culture within puppet arts, through this study the writer knows many significances and life values contained within puppets.
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Kasim, Sunardy. "Bentuk Tokoh Umar Maya Pada Wayang Sasak." Jurnal SASAK : Desain Visual dan Komunikasi 1, no. 2 (November 29, 2019): 51–55. http://dx.doi.org/10.30812/sasak.v1i2.555.
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Puppet umar maya is known as one of the characters in the sasak puppet story. This figure acts as an advisor to the knights in the right puppets, especially the advisor to the king of the Jayangrana king. As an advisor, this figure has a wise, humble, smart, brave, and loyal character to his country. From these various characteristics, this figure is respected by all right-wing puppets and respected by his enemies. In this research, the writer tries to describe the shape of the virtual puppet umar figures with the hope that the community, especially the younger generation among academics, can know the form of the puppet sasak, especially the virtual umar figures. The research method that I use is a qualitative method where the data collection is done by observation, interviews with the actors of Sasak puppet art, as well as reviewing documents that discuss Sasak puppets. From the results of research conducted by the author, the results obtained in the form of a description of the shape of the virtual umar characters in sasak puppets which are divided into urayan about the shape of the virtual umar figures in terms of the form of making ideas of virtual umar characters and the physical form of the virtual umar characters in the sasak puppet
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Cohen, Matthew Isaac. "Puppets, Puppeteers, and Puppet Spectators: A Response to the Volkenburg Puppetry Symposium." Contemporary Theatre Review 27, no. 2 (April 3, 2017): 275–80. http://dx.doi.org/10.1080/10486801.2017.1298100.
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Karaolis, Olivia. "Not Just a Toy: Puppets for Autistic Teenagers." Youth 3, no. 4 (October 23, 2023): 1174–82. http://dx.doi.org/10.3390/youth3040074.
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The benefits of puppetry for children in therapeutic and educational contexts are well established, with puppets shown to have improved children’s learning, their relationships with adults and other children, and their self-confidence and communication. Adding to this research is an emerging body of evidence that shows the many benefits of puppets for autistic children both as a form of early intervention and as a teaching strategy in the early years of schooling. This paper examines the qualitative literature that describes the value of puppets for autistic teenagers and young people to see how the object of puppets may maintain relevance for older students in secondary school and as they transition out of school and how puppets can enhance the already established advantages seen in younger children. An online search was conducted of peer-reviewed journals through the university library, followed by an additional search using the same keywords on Google Scholar. The review highlighted the possibilities of puppetry for many educational purposes and the wellbeing of autistic adolescents and young people. Also found were a significant gap in the research and the need for further studies that apply puppetry to this diverse population.
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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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Grace, Janet, and George J. Suci. "Attentional priority of the agent in the acquisition of word reference." Journal of Child Language 12, no. 1 (February 1985): 1–12. http://dx.doi.org/10.1017/s0305000900006188.
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ABSTRACTThe role of agent priority in event perception in word acquisition was investigated using 24 infants at the one-word stage of language production. Nonsense words were presented in narrations referring to agent, recipient or stationary nonsense puppet-actors in filmed events. The nonsense stimuli along with a sense word referring to a sense puppet were presented in a habituation series. Word acquisition was measured by the extent of response recovery to an incorrect pairing of a nonsense word with a sense referent, and by the number of infants accurately choosing named puppets. Both measures were significantly greater for puppets in agent roles than for other puppets. A speech modification condition (exaggerated intonation with repetition) held attention longer but did not facilitate acquisition.
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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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Huda, Muh Nurul, and Kundharu Saddhono. "Wayang Purwa Gagrag Banyumasan dan Peran Wali." IBDA` : Jurnal Kajian Islam dan Budaya 15, no. 1 (May 9, 2017): 135–48. http://dx.doi.org/10.24090/ibda.v15i1.1038.
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This article discusses the differences of puppet styles and the role of Wali towards puppet performance. The Nine Wali used puppet performance as one of their media to diffuse Islam. In addition to entertainment, puppet was functioned as guidance and rules for human life. To eliminate its syirik aspects, the Wali changed its substantial form of the puppets in order not to look like human being. This descriptive qualitative research studied the differences between purwa gagrag Banyumasan puppet and the role of Wali. This research found that there are some differences in names, forms, characters, and equipment in purwa gagrag Banyumasan puppet and the puppet innovated by the Wali. Meanwhile, the role of Wali existed on the changes of form and meaning of the puppets.
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Huda, Muh Nurul, and Kundharu Saddhono. "Wayang Purwa Gagrag Banyumasan dan Peran Wali." IBDA` : Jurnal Kajian Islam dan Budaya 15, no. 1 (May 9, 2017): 135–48. http://dx.doi.org/10.24090/ibda.v15i1.2017.pp135-148.
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This article discusses the differences of puppet styles and the role of Wali towards puppet performance. The Nine Wali used puppet performance as one of their media to diffuse Islam. In addition to entertainment, puppet was functioned as guidance and rules for human life. To eliminate its syirik aspects, the Wali changed its substantial form of the puppets in order not to look like human being. This descriptive qualitative research studied the differences between purwa gagrag Banyumasan puppet and the role of Wali. This research found that there are some differences in names, forms, characters, and equipment in purwa gagrag Banyumasan puppet and the puppet innovated by the Wali. Meanwhile, the role of Wali existed on the changes of form and meaning of the puppets.
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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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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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Karaolis, Olivia. "Being with a Puppet: Literacy through Experiencing Puppetry and Drama with Young Children." Education Sciences 13, no. 3 (March 9, 2023): 291. http://dx.doi.org/10.3390/educsci13030291.
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Puppets have a long association with early childhood education and have played a much-loved role in children’s learning and development. This paper tells the research story that investigated how the magical creature of a puppet facilitated connection, play, communication, and engagement with children who experience disability. We discovered how puppets can be combined with drama approaches and utilized in group activities for enabling literacy development by early childhood educators. In being with a puppet, adults found new ‘ways’ of supporting all children’s interest, meaning making, and contribution to group learning experiences. Puppets were found to invite children into conversations, to encourage their expression and creativity, in a way that was uniquely their own. Educators found that being with a puppet supported their relationship with the children to one that was more playful and positive as it altered their perception of the children and their ability to recognize their non-verbal communication.
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Nguyen Thi Anh, Thu, Huyen Trinh Khanh, Ut Nguyen Thi, Dung Ha Ba Thuy, and Thu Dinh Nguyen Trang. "CREATING ACTIVITIES USING PUPPETS TO PROMOTE LANGUAGE AND SOCIAL INTERACTIONS FOR CHILDREN OF 4-TO-5 YEARS OLD WITH AUTISM SPECTRUM DISORDERS." Journal of Science Educational Science 65, no. 12 (December 2020): 129–37. http://dx.doi.org/10.18173/2354-1075.2020-0117.
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Puppets have been one of teaching resources to develop language and social interactions for children including children with special needs. This paper explores how puppets can be used in activities to promote language skills and social interactions for 4-to- 5 years old children with autism spectrum disorders. The article provides the implementation process including how to design puppets based on recycled materials, how to design a lesson plan using puppets, and technical suggestions for using puppet theatre when teaching children with autism spectrum disorders. The article also presents the experimental results of applying these in a typical case study of children with autism spectrum disorders aged 4-5. The initial outcomes have proved both theoretical and ractical effectiveness on these children, shown in the evaluation results in both quantitative and qualitative aspects. This is the basis for the researchers of this study to expand and transfer application results of applying puppet therapy to enhance language ability and social interaction for children with autism spectrum disorders in many other caring facilities for children at 4-5 years old with autism spectrum disorders
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Linn, Susan. "It’s not me! It’s him! Interactive puppet play to help children cope." Journal of Applied Arts & Health 11, no. 1 (July 1, 2020): 103–8. http://dx.doi.org/10.1386/jaah_00021_7.
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Puppetry has been described as one of the most valuable and least understood of all tools for play therapy. This article describes the author’s experience using puppets to help children facing serious illness and hospitalization. One lens for understanding why puppetry is such a powerful therapeutic tool is informed by psychodynamic theory, especially object relations, in particular D. W. Winnicott’s writings on play, as well as the seminal work of Anna Freud and Melanie Klein in describing the psychological phenomena of projection and identification. In this context, the article explores, and gives examples of, the characteristics of therapeutic puppet play that facilitate mastery, modelling and self-expression.
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Fadri, Zainal. "Aesthetic in Puppet Performance." An-Nuha : Jurnal Kajian Islam, Pendidikan, Budaya dan Sosial 8, no. 1 (July 7, 2021): 97–108. http://dx.doi.org/10.36835/annuha.v8i1.348.
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Puppet show is still an entertainment that is full of values and meaning in some Javanese people. The existence of puppets on the Java’s island is caused by the spread of puppets in Java when the Sunan Kalijaga era spread Islam. Puppet shows save the values and rules of life inherent in the conditions of society. Values of life are conveyed by portraying puppet plays and slipping a few jokes as entertainment in the show. This research is a library research and supported by direct observation watching puppet shows. The author analyzes the aesthetic dimenasi contained in a puppet show. The results of this study are some of the aesthetic values contained in the puppet play Lahire Gatotkaca. The aesthetics contained in the puppet show are the value of the text beauty, the value of the show beauty and the norms that are conveyed in a relaxed and light manner.
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Ceccarelli, Sofia, Erika Cao, Noemi Orazi, Cristina Cicero, Fulvio Mercuri, Ugo Zammit, Alessandra Terrei, and Stefano Paoloni. "Papier-Mâché Puppets’ Characterization by Infrared Imaging Techniques." Heritage 5, no. 3 (June 24, 2022): 1419–32. http://dx.doi.org/10.3390/heritage5030074.
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Among the different forms of art, the puppet theatre constitutes a long-standing and often little-known tradition. The use of puppets as support for acting dates back to the Greek age, and it was mainly developed during the modern period. The reason for such a large diffusion was due to the possibility of using affordable materials, such as papier-mâché, for the puppets’ manufacture. In this paper, a method based on the combined use of pulsed thermography (PT) and mid-wave infrared reflectography (MIR) is, for the first time, proposed for the characterization of papier-mâché artworks. In particular, some puppets belonging to the collection of the Museo delle Civiltà in Rome and made by Olga Lampe Minelli, a 20th-century puppet master, were investigated in order to detect damaged areas, such as those affected by insect attacks, and, consequently, to specifically plan suitable restoration works. Finally, the investigations were also carried out after the restoration to evaluate the effectiveness of the adopted treatments.
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Shinohara, Asami, Yasuhiro Kanakogi, Yuko Okumura, and Tessei Kobayashi. "The impact of positive and negative testimony on children’s attitudes toward others." PLOS ONE 16, no. 12 (December 22, 2021): e0261075. http://dx.doi.org/10.1371/journal.pone.0261075.
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Children can identify who is benevolent or malevolent not only through first-hand experiences and observations but also from the testimony of others. In this study, we investigated whether 5- and 7-year-olds (N = 128) would form their attitudes toward others after hearing testimony about that person’s past moral behavior and whether the valence of testimony would differently influence the children. In the positive condition, half of the participants gained information about three puppets: puppet A’s prosocial behavior by their own first-hand observation, testimony about puppet B’s past prosocial behavior, and testimony about puppet C’s past neutral behavior. In the negative condition, the other half also learned information about the three puppets: puppet A’s antisocial behavior by their own first-hand observation, testimony about puppet B’s past antisocial behavior, and testimony about puppet C’s past neutral behavior. Then they engaged in tasks that measured their behavioral attitudes toward the puppets and evaluated the goodness of each puppet to assess their attitudes at a cognitive level. Our results concluded that the children form their behavioral attitudes toward others based on testimony starting at the age of 7, and attitude formation at the cognitive level based on testimony is seen at age 5. Negative testimony, rather than positive testimony, influences the children’s attitudes toward others. In addition, the 7-year-olds’ use of testimony differs depending whether they are the allocators or the receivers of rewards. Our findings deepen understanding of how children rely on the verbal information around themselves when they navigate interactions with others.
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Khoiriyah, Saidatul, FX Krisna Kurniawan, Faradila Aulia' Alifteria, Angki Yustito Dulim, and Nadi Suprapto. "Performance of History of Physics Course Through a Local Wisdom: “Wayang”." Studies in Philosophy of Science and Education 2, no. 1 (March 15, 2021): 3–6. http://dx.doi.org/10.46627/sipose.v2i1.29.
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This article about scientific puppets aims to explain or describe the concept of a scientific puppet, how to make a scientific puppet, as well as the implementation and implications of puppet art as a medium of learning physics. In this case, the scientific puppet can be a learning medium for the knowledge of the history of physics scientists to students and students. The preparation of this article uses the type of descriptive qualitative research because as an interpretation and description of the concept of cultural acculturation used for learning physics, the implementation of scientific puppets as a method of learning physics. In this article produces a discussion of the concept of a scientific puppet, a puppet that presents a scientist with an actual picture of the scientist but is shaped in such a way that it is shaped like a puppet. The wayang scientist procedure starts by designing the drawings of the characters in the story to be displayed. The figures that will be used in the puppets are edited to use clothing that suits the setting of the place and atmosphere. After that, cut and placed on used cardboard so that it can be erect and given wood as a mastermind handle. The implementation of the story used is the story of a physicist J Black and JP Joule. In this case, the teacher acts as a puppeteer. The teacher uses the scientific puppet as a visual aid to present physics material through a pre-packed story. The implications of this puppet are interesting and impressive because the material of physics history is easier to understand.
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Diamond, Catherine. "Wayang Listrik: Dalang Larry Reed's Shadow Bridge Between Bali and San Francisco." Theatre Research International 26, no. 3 (October 2001): 257–76. http://dx.doi.org/10.1017/s0307883301000347.
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Building on the early European experiments with animated shadow figures, American dalang Larry Reed – narrator and puppet manipulator – has enlarged Balinese shadow puppetry to cinema-sized dimensions and combined it with live actors and dancers. In conjunction with Balinese puppet masters, Reed has created several pieces which explore the interaction between puppets and human shadow figures as well as performers in front of the screen. Moreover, Reed's productions are bilingual and bi-cultural, mixing Balinese and American humour and mythology so that the hybrid creations find favour with audiences in both locations. As his technique increasingly becomes refined in the process, each new production expands more subtly on the theme of melding shadow with flesh and the blurring of illusion and reality.
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Duija, I. Nengah, and Ni Made Ayu Susanthi Pradnya Paramitha. "Dharma Pawayangan: Transliteration, Translation, And Cultural Values Analysis." Jurnal Penelitian Agama Hindu 6, no. 1 (January 21, 2022): 1–12. http://dx.doi.org/10.37329/jpah.v6i1.1333.
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As time changes, the Balinese wayang (shadow puppet show) performances has undergone changes marked by the emergence of new plays. This study examines the lontar (traditional scripture) of Dharma Pawayangan through a manuscript study since the Dharma Pawayangan Lontar contains information and instructions on traditional puppetry art which can be used as the basis for aesthetic understanding of Balinese puppeteers today. To avoid being crushed by the secularization of new wayang creation, thus resulting in the retainment of its religio-magic nature. This study aims to determine the transliteration and translation of Dharma Pawayangan B text, and its cultural values. Another goal is to produce puppetry literary texts that are a source of inspiration for Balinese puppet masters. The result of this research is the Dharma Pawayangan B, transliterated into Latin characters and translated into Indonesian. This manuscript contains information on puppets, puppetry, and the aspects that must be understood by the dalang, namely kiwa tengen, ethics, taboos, equipment, theology, rituals, and punishment for violation of the rules, as well as the development of wayang in the modern era.
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Jannarone, Kimberly. "Puppetry and Pataphysics: Populism and the Ubu Cycle." New Theatre Quarterly 17, no. 3 (August 2001): 239–53. http://dx.doi.org/10.1017/s0266464x00014755.
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Many partisans of Alfred Jarry's work have discovered Ubu roi and the ‘science’ of pataphysics via a study of the Parisian avant-garde, and the play has been discussed for a hundred years in this context. Kimberly Jannarone also assesses Jarry in the context of the world of rural puppetry – for, like many other avant-garde artists at the fin de siècle, Jarry came to Paris from a small town, and brought with him such formative experiences as the makeshift puppet shows he saw as a child. Bringing the rural puppet into focus in a discussion of the Ubu cycle, Kimberly Jannarone exposes Père Ubu's identity as a class hybrid, whose maddening and elusive nature stems from the fusion of popular and elite forms. Further, she reveals that Jarry's use of puppet forms is radically different from that of the Symbolists, who conceived puppets as theoretical figures within a fully formed aesthetic doctrine. By contrast, Jarry used puppets for their very incompleteness – their makeshift nature making them ideal catalysts for the audience's imaginations. She sees Pataphysics as a model of the avant-garde itself: a system that focuses less on products than on effects. Kimberly Jannarone has taught at the University of Washington School of Drama, and is about to take up an appointment as Assistant Professor of Theater Arts at the University of California, Santa Cruz. She received her MFA and DFA from the Yale School of Drama, where her dissertation examined the historical avant-garde through the works of Jarry and Antonin Artaud.
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Aldian, Giri, Aren Frima, and Asep Sukenda Egok. "Development of Hand Doll Media on Science Learning Students of Class V Elementary School 6 Srikaton." Widyagogik : Jurnal Pendidikan dan Pembelajaran Sekolah Dasar 10, no. 1 (September 2, 2022): 161–76. http://dx.doi.org/10.21107/widyagogik.v10i1.16943.
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This study aims to determine the Hand Puppet Media in Science Learning Class V SD Negeri 6 Srikaton and find out how to develop a Hand Puppet Media in Science Learning Class V SD Negeri 6 Srikaton which is valid and practical. This study uses a 4-D development model. The instruments used to measure the quality of the developed hand puppet media include validation sheets and practicality questionnaires. The product of this research is in the form of hand puppets on theme 1 sub theme 1 learning 1 in class V SD Negeri 6 Srikaton. So that this study shows the results of the entire validation component of the expert team including the valid category with an average score of 0,84 for all validators. The practicality of hand puppets received a practical response with an average score of all practicality tests, which was 91,10 %, this indicates that the hand puppet media is already practical.
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Bian, Lin, Stephanie Sloane, and Renée Baillargeon. "Infants expect ingroup support to override fairness when resources are limited." Proceedings of the National Academy of Sciences 115, no. 11 (February 26, 2018): 2705–10. http://dx.doi.org/10.1073/pnas.1719445115.
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Recent research suggests that the foundations of human moral cognition include abstract principles of fairness and ingroup support. We examined which principle 1.5-y-old infants and 2.5-y-old toddlers would prioritize when the two were pitted against each other. In violation-of-expectation tasks, a puppet distributor brought in either two (two-item condition) or three (three-item condition) items and faced two potential recipients, an ingroup and an outgroup puppet. In each condition, the distributor allocated two items in one of three events: She gave one item each to the ingroup and outgroup puppets (equal event), she gave both items to the ingroup puppet (favors-ingroup event), or she gave both items to the outgroup puppet (favors-outgroup event). Children in the two-item condition looked significantly longer at the equal or favors-outgroup event than at the favors-ingroup event, suggesting that when there were only enough items for the group to which the distributor belonged, children detected a violation if she gave any of the items to the outgroup puppet. In the three-item condition, in contrast, children looked significantly longer at the favors-ingroup or favors-outgroup event than at the equal event, suggesting that when there were enough items for all puppets present, children detected a violation if the distributor chose to give two items to one recipient and none to the other, regardless of which recipient was advantaged. Thus, infants and toddlers expected fairness to prevail when there were as many items as puppets, but they expected ingroup support to trump fairness otherwise.
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Ayuswantana, Alfian Candra, Agus Sachari, and Irfansyah Irfansyah. "Pengaruh Nilai Islam pada Visual Pakaian Dewa dan Resi Boneka Wayang Jekdong Jawa Timur." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 6, no. 1 (March 20, 2020): 32–42. http://dx.doi.org/10.33633/andharupa.v6i1.2852.
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Abstrak Wayang Jekdong hidup dan berkembang dalam konteks sosial-budaya Arek yang sangat khas. Budaya Arek sebagai sub-budaya Jawa Timur menyebar dari pantai utara Jawa Timur ke pedalaman sepanjang aliran sungai Brantas menyebabkan pengaruh nilai-nilai Islam kental terasa pada budaya Arek. Nilai-nilai Islam yang kuat salah satunya dapat dilihat dalam wayang boneka Jekdong sebagai artefak budaya masyarakat budaya Arek. Penelitian ini berfokus pada pengamatan visual pada boneka Jekdong yang mewakili nilai-nilai Islam melalui bentuk boneka. Pengamatan dilakukan dengan pendekatan etnografi melalui proses analisis komponen visual Spradley dalam wayang Jekdong yang didukung oleh teori semiotika dyadic Saussure-Barthes. Hasil analisis menunjukkan bahwa ada pengaruh nilai-nilai Islam yang diwakili dalam bentuk boneka wayang Jekdong terutama pada tokoh Dewa (dewa atau dewa tertinggi) dan Resi (pertapa). Bentuk budaya Arek sebagai komunitas Islam pesisir sangat jelas terlihat terutama pada atribut pakaian yang ditampilkan seperti keberadaan turban putih, khaftan, qamis, dan sepatu Persia. Diharapkan dengan penelitian ini dapat memberikan kontribusi ilmiah tentang wayang golek Jekdong dalam sudut pandang ilmiah seni di provinsi Jawa Timur khususnya. Kata Kunci: budaya Arek, busana, wayang Jekdong, Islam pesisir AbstractThe Jekdong puppets lives and develops in a very distinctive Arek socio-cultural context. The Arek culture as East Java sub-culture spreads from the north coast of East Java to the depths along with the Brantas river flow causing the influence of Islamic values upon the Arek Culture. Strong Islamic values, one of them can be seen within Jekdong puppets as a cultural artifact of the Arek society. This research focuses on visual observations on Jekdong puppets that represent Islamic values through the form of puppets. Observations performed with an ethnographic approach through a process of Spradley's visual components analyzing in Jekdong puppets and supported by the dyadic semiotics theory of Saussure-Barthes. The results of the analysis show that there are influences of Islamic values that represented in the form of Jekdong puppets, especially in Dewa (deity or supreme being) and Resi (hermits or saints) figures. The form of Arek culture as an Islamic coastal community is very clearly visible, especially in the fashion attributes that displayed such as the existence of white turban, Kaftan, Qamis, and Persian shoes. It expected that this research could provide scientific contributions about the Jekdong puppet show puppet in the scientific viewpoint of art, particularly in East Java province. Keywords: Arek culture, coastal Islam, fashion, Jekdong puppet
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Hesty Widiastuty, Sri Normuliati Normuliati, Nur Melani Yuliana Yuliana, Yunus Firmansah Firmansah, and Siska Indriyani Indriyani. "The Assistance for Learning English Vocabulary Using Finger Puppets." Jurnal Inovasi Pengabdian Masyarakat Pendidikan 4, no. 2 (May 9, 2024): 336–51. http://dx.doi.org/10.33369/jurnalinovasi.v4i2.28627.
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In teaching the language, they need effective media. It can improve the ability of learners to learnability. In addition, using media can make learning more interesting and exciting, resulting in better material retention. These finger puppets can be an alternative medium in language learning. In addition, finger puppets are perfect for educational games because they are easier to move according to the storyline and increase vocabulary. The purpose of this community service activity is to introduce the use of finger puppets as a medium in vocabulary learning. The vocabulary used is based on the folklore used entitled, "The Tale of Bawang Merah & Bawang Putih". By doing storytelling with finger puppets, students are expected to be able to understand and capture the vocabulary in the story and the use of finger puppets can attract their interest in learning the language. The method is divided into four stages: preparation, implementation, evaluation, and report preparation. The result of this activity is that participants become more active in interacting in class during the teaching and learning process; their vocabulary increases; their vocabulary mastery improves as a result of the given vocabulary exercises; and the participants' interest in learning English increased as a result of their interest in watching interesting and engaging finger puppet shows.
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Burneikaitė, Salomėja. "Lėlių teatro technikų taikymo ergoterapeuto darbe patyrimas." Sveikatos mokslai 23, no. 1 (January 5, 2013): 79–82. http://dx.doi.org/10.5200/sm-hs.2013.014.
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The article acquaints with the practice of creating textile puppets, purposefully used at the work of occupation therapist. It is one of the application technique of puppet therapy. The work is based on the experience of extramural students of Continuing Studies Institute of Klaipeda University while doing assignments on intern-ship locations for the subject of expressive psychotherapy method. The analysis of the works observing and comparing how creation of textile puppets impact the state of patients during the process of rehabilitation, completed by the students of occupation therapy, is presented.The creation of a puppet as a spiritualized object from the textile materials helps to enter into and maintain long-term contact with a patient. This activity stimulates emotions, grants the possibility to a patient to express oneself, enter into conversation, and the occupation therapist receives delicate information about the patient‘s condition. Creation of puppets together with patients helped students to maintain humane relations, to perceive them deeper, and experience new emotions out of this experience. The stronger motivation to achieve the goal was observed when the puppet, created and produced by the patient, was dedicated to another person. The students of the occupation therapy program were convinced practically that by involving creative activity while creating a spiritualized object, a puppet, it is effective to maintain relation with a person. They enriched the skills for the use of occupation therapy methods and means.
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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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Petrović, Marijana. "On the wings of imagination: The 8th Biennial of puppetry artists of Slovenia." Maska 31, no. 181 (December 1, 2016): 112–19. http://dx.doi.org/10.1386/maska.31.181-182.112_1.
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The article covers the events at the 8th Biennial of Puppetry Artists of Slovenia, which took place in 2015 in Maribor. It points out the productions that attracted young spectators with fresh minimalism (Turlututu) and an inventive participatory principle (In the Land of Finger Puppets and Heart and Bellybutton). Freaks, a puppet musical for grownups by Rok Vilčnik and Bojan Labović and A Little Lamp, Pea and Feather, a performance for the youngest audiences directed by Katja Povše, are characterized as especially original works. Also, The Grand Prix went to Timescope by Matija Solce, who also received the award for best directing for his work on it.
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Purwaningsih, Dominika Anggraeni. "PUPPET MOVEMENTS IN STRUCTURE-SPECIFIC TRADITIONAL PAPER CUT OUT ANIMATION PRODUCTION." Ultimart: Jurnal Komunikasi Visual 13, no. 2 (December 22, 2020): 61–68. http://dx.doi.org/10.31937/ultimart.v13i2.1821.
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Physical paper puppets are inanimate objects, but when we’re speaking in terms of the production of traditional paper cut out animation, they become the actors and the souls that drive the movie. When shooting and animating traditional paper cut out animation, the puppets are laid flat on a surface so they can only move in limited directions compared to conventional 2D or 3D animation. As we know, each character in animated movie has its own personality and unique to each other. The challenge lays in bringing out the characteristics and personality of the character through the limited medium of paper puppet. In this qualitative research, puppet movements will be applied to quadruped cat characters in a public service announcement titled “Spay & Neuter”. The puppet along with the visual design, segmentations, and joints were done in previous research. Qualitative observations and audio-visual materials are used to collect the data for references. Literature review will study the characteristics of cats, body language, behaviour, and principles of animation especially timing and exaggeration. Observation is conducted by studying the movements of real cats from online videos and direct observations and also studying how other animators animate cat characters in animated films. In the exploration stage, paper puppets will be animated according to the movement design while experimenting with the timing and frame rate of the stop motion to achieve the final results.
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Zamir, Tzachi. "Puppets." Critical Inquiry 36, no. 3 (March 2010): 386–409. http://dx.doi.org/10.1086/653406.
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Kusairi, Latif, and Depy Tri Budi Siswanto. "Portraits of Puppet Art Thimplong at District Nganjuk: Reduction of Local Culture in the Acceleration of Nowadays Era." Islah: Journal of Islamic Literature and History 1, no. 2 (December 31, 2020): 111–22. http://dx.doi.org/10.18326/islah.v1i2.111-122.
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This paper studies on how puppets as a media for preaching. One of them is puppet Thimplong brought by Eyang Sariguna. This puppet settings come from the Kingdoms of Kediri, Jenggala, Majapahit, Babad Tanah Jawi, and legends around Nganjuk. Currently, this puppet is rarely used and almost extinct. Therefore, the acceleration between this puppet and modern culture is needed for gaining acceptance among societies.
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Schumann, Peter. "What, At the End of This Century, Is the Situation of Puppets & Performing Objects?" TDR/The Drama Review 43, no. 3 (September 1999): 56–61. http://dx.doi.org/10.1162/105420499760347324.
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Li, Jing, Wenwen Hou, Liqi Zhu, and Michael Tomasello. "The development of intent-based moral judgment and moral behavior in the context of indirect reciprocity: A cross-cultural study." International Journal of Behavioral Development 44, no. 6 (July 8, 2020): 525–33. http://dx.doi.org/10.1177/0165025420935636.
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The current study aimed to investigate the cultural differences in the developmental origins of children’s intent-based moral judgment and moral behavior in the context of indirect reciprocity. To this end, we compared how German and Chinese children interpret and react to antisocial and prosocial interactions between puppets. An actor puppet performed either a positive or negative act toward a prosocial or antisocial target puppet with the intention to cause harm or not; 197 three and five-year-old children participated as a third party and were asked to judge the actor puppet’s behavior and to distribute stickers. Results showed that 3-year-old Chinese children were able to take intention and context into account when making moral judgments and distributing resources, whereas German children did not show sensitivity to intention until the age of 5. These findings suggest that culture may mediate children’s intent-based moral judgment and moral behavior in the context of indirect reciprocity.
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Lanberg, O. A., L. G. Khayet, and T. V. Kadinskaya. "Systemic Puppet Therapy in Rehabilitation Practice." Bulletin of Rehabilitation Medicine 99, no. 5 (October 29, 2020): 88–93. http://dx.doi.org/10.38025/2078-1962-2020-99-5-88-93.
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The concept of systemic puppet therapy proposed by the authors is described. Therapeutic work with puppets is a promising method of psychological assistance as part of rehabilitation processes. Its insufficient use is due to its low structurality. The phased application of morphological analysis and synthesis made it possible to streamline the known and develop new effective methods of puppet therapy. The proposed systemic puppet therapy is an ordered polymodal set of static (lining on the table or on the floor of a puppet arranged set) and dynamic (presenting history on behalf of the puppet or staging a performance) methods, individual and group methods, face-to-face and remote forms of work, algorithms for their choice.The size, material and design of puppets, quantitative and qualitative composition of their therapeutic set are justified. Methods of puppet therapy of different degree of structuring and depth of exposure for patients with different level of intelligence are described, including category and scope of application of the technique, instructions to the patient, plan of results discussion,transformation procedure providing therapeutic effect. Implementing a polymodal approach, after working with puppets, patients painted, composed and analysed works of literature andart. The field of puppet therapy intersected with the fields of drama-, mask- and art therapy, body-oriented and verbal therapy, psychodrama and system arrangements. Puppet therapy content included work with feelings and emotions, with the process of communication and social roles, with verbal and non-verbal diagnostics and self-diagnostics, with personal features and a system of relationships,with values and needs, with existential problems of patients. Systemic puppet therapy is applicable to a wide range of nosological categories, therapeutic situations, physical condition, intellectual level, gender and age characteristics of patients.The conditions and examples of application of techniques in the National Medical Research Centre of Rehabilitation and Balneology with the tasks of correcting unproductive attitudes and the system of patient relations, correcting perceptions of oneself; capacity-building and resource search; development of a compliance installation and active participation in rehabilitation are given.