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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 (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 wa
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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 (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 exp
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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 (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 resear
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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 (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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Ambarastuti, Retno Dewi, Emma Rahmawati Fatimah, Ni Made Savitri Paramita, and Santi Andayani. "Digitalisasi Budaya Wayang Pothehi Melalui Film Dokumenter pada Komunikasi FU HE AN." Jurnal Gramaswara 5, no. 1 (2025): 115–24. https://doi.org/10.21776/ub.gramaswara.2024.005.01.12.

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Potehi puppetry is an art performance that uses puppets from South China, which came to Indonesia in the 16th and 17th centuries. The development of these puppet shows experienced ups and downs, especially the prohibition of everything with Chinese nuances, in 1967 and improved in 2000. The preservation and continuity of potehi puppets are also carried out by the Fu He An community, Gudo, Jombang, led by Toni Harsono. Toni Harsono's motivation to develop this community stems from his concern about the condition of many damaged potehi puppets, the scarcity of authentic potehi puppets, and his d
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Stern, Tiffany. "Afterword: Shakespeare's attitude to puppets." Cahiers Élisabéthains: A Journal of English Renaissance Studies 117, no. 1 (2025): 179–87. https://doi.org/10.1177/01847678251339022.

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This afterword is also a ‘beforehand’: it gives a background for the articles in this special issue, exploring William Shakespeare's own references to puppet shows, puppets themselves and puppet audiences and looking too at the actual puppets he may have used in his plays. Its argument is that, from the first, the relationship between Shakespeare and puppets was reciprocal; he treated puppet plays in much the way that, as these trenchant articles have shown, Shakespeare's plays have come to be treated by puppets and puppeteers.
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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 Eur
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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 (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 puppet
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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 (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 p
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Hadiprayitno, Kasidi. "Estetika Wayang." Jurnal Budaya Nusantara 1, no. 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 p
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Platz, William. "Drawing with numb hands: Dexterity and draughtspuppets." Drawing: Research, Theory, Practice 6, no. 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 fo
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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 (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
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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 (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
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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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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 (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 appea
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Sauri, Sopiyan, Wahyu Kurnia, Beny Permana, Junaidi Junaidi, and Subhan Subhan. "Wayang Sasak as a Media for Dakwah Case Study of Ki Dalang Buwana Sanggar H. Safwan, AR in Batu Rimpang Dusun Badrain Village Narmada District, West Lombok Regency." Global Journal of Social Learning 1, no. 1 (2024): 25–33. https://doi.org/10.71094/gjsl.v1i1.3.

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Shadow puppets, a cultural gem of Indonesia, embody acting, sound, music, literature, sculpture, and symbolism. For the Sasak people, puppets hold deep significance as a medium of communication and entertainment, enabling the delivery of Islamic dakwah messages through their storylines. This study focuses on how puppeteer Ki Dalang H. Safwan, AR, of Sanggar Buwana in Batu Rimpang, West Lombok, conveys dakwah messages during puppet performances. Using a descriptive qualitative approach, data were collected via observation, interviews, and documentation. The findings highlight the puppeteer's ef
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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 (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, fu
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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 (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 competit
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Yoga, I. Wayan Swantara, I. Wayan Mudana, and I. Wayan Kondra. "BALI PUPPET IN CONTEMPORARY PAINTING ART." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 5, no. 1 (2025): 64–72. https://doi.org/10.59997/ctkr.v5i1.4492.

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The independent campus learning program is a policy of the Minister of Education and Culture, which aims to encourage students to master various knowledge that is useful for entering the world of work. This independent project study report highlights the concept of Balinese Shadow Puppetry in Contemporary Painting. Departing from the rare Shadow Puppetry which has become one of the inspirational ideas for creating art. The selection related to Shadow Puppet visuals in the creation of this work of painting presents the story of wayang as expressed through 6 (six) works of Painting. The problem
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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 pu
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AlyaRofiatus, Nur Fitria Ramadhani, and Andrea Floretta Imani. "THE RELEVANCE OF WAYANG TO SOCIAL SCIENCE LEARNING." International Journal of Geography, Social, and Multicultural Education 1, no. 3 (2024): 58–66. https://doi.org/10.26740/ijgsme.v1n3.p58-66.

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The purpose of this research is to analyze the development of wayang for social studies learning media. Wayang is one of the iconic arts, especially for the island of Java. The meaning and value contained in puppets can be applied in the world of education. Various kinds of values ranging from artistic value, religious value and entertainment value. The purpose of developing puppets is to determine the feasibility of developing puppets for social studies learning media and to know the history of puppet development to date. This research uses quantitative research methods where the data sought
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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 Korng
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Liasari, Devi, and Badrun Badrun. "Integrasi Islam dan Kebudayaan Jawa dalam Kesenian Wayang." Local History & Heritage 2, no. 1 (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 J
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Spivak-Lavrov, Irina. "Interpretation of the motif of female puppetry: From myth to postmodernism." Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, no. 88 (2024): 230–41. https://doi.org/10.17223/19986645/88/12.

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The article deals with the interpretation of female puppetry in the context of various historical periods from mythology to postmodernism. Ritual and archetypal origins of the culturological phenomenon of the puppet are determined. The image of a woman-puppet and a puppet-woman correlates with many related motifs: a revived statue, duality, transformation, inner emptiness, and static characters. Various interpretations of the motif of puppetry in the aspect of romantic, expressionistic, postmodern aesthetics in Russian and European literature are explored. In romantic literature (“The Sandman”
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Kasim, Sunardy. "Bentuk Tokoh Umar Maya Pada Wayang Sasak." Jurnal SASAK : Desain Visual dan Komunikasi 1, no. 2 (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
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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 (2017): 275–80. http://dx.doi.org/10.1080/10486801.2017.1298100.

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Muh., Mukti. "Wayang Now in a Philosophical Perspective." International Journal of Social Science and Human Research 08, no. 02 (2025): 1099–109. https://doi.org/10.5281/zenodo.14890744.

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Wayang (puppet) today is a development of wayang in the past. This article aims to find out how wayang is now, then examine it from a philosophical perspective. This type of research is descriptive-qualitative, the object of which is now wayang presented by well-known young generation puppeteers after Anom Suroto and Manteb Sudarsono - such as Purba Asmara, Cahya Kuntadi, and Sigit Ariyanto. Today's wayang will be closely related to wayang in the past, where wayang used to be based on standard, because it was used for offerings to God, so from a philosophical perspective it was a spiritual phi
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Karaolis, Olivia. "Not Just a Toy: Puppets for Autistic Teenagers." Youth 3, no. 4 (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 h
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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 (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 mea
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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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Huda, Muh Nurul, and Kundharu Saddhono. "Wayang Purwa Gagrag Banyumasan dan Peran Wali." IBDA` : Jurnal Kajian Islam dan Budaya 15, no. 1 (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
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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 (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
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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 (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. Wa
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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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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 (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 re
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Decaix, Cécile. "‘Taking the car engine apart and show[ing] all the bits’: Adapting Shakespeare for the contemporary British puppet stage." Cahiers Élisabéthains: A Journal of English Renaissance Studies 117, no. 1 (2025): 69–81. https://doi.org/10.1177/01847678251339026.

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How does one interpret Shakespeare, in the puppetry medium in which the physical being, and not the famous ‘words, words, words’, is meant to be the primary draw? Contemporary British puppet companies, however, have shown a tendency to rethink and question the physical essence of performing Shakespeare. Through a study of shows and workshops by Blind Summit (London) and Forced Entertainment (Sheffield), this article explores how object theatre and bunraku puppets can offer fresh interpretations of Shakespeare's works.
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Prastiwi, Herliana, Fitri Yanti, Tontowi Jauhari, and M. Nasor. "Wayang as a Medium for Da'wah Communication: Integrating Tradition and Spiritual Messages by the Jangkar Bumi Art Community Association." RADEN INTAN: Proceedings on Family and Humanity 2, no. 1 (2025): 64–74. https://doi.org/10.47352/3032-503x.56.

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Da'wah is the core of Islamic religious teachings that must be carried out by every Muslim, in its implementation da'wah needs to use the media to deliver da'wah material. At this time da'wah can be done using various media, one of which is the traditional art of shadow puppets. In its development, shadow puppets in some areas have begun to decrease in existence. However, in some areas there are still shadow puppet performances, one of which is Paguyuban Anchor Bumi Art Community in Tulungagung Village which still performs shadow puppets. Shadow puppets that do not keep up with the times will
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Karaolis, Olivia. "Being with a Puppet: Literacy through Experiencing Puppetry and Drama with Young Children." Education Sciences 13, no. 3 (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 con
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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 (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
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Murdowo, Drajat Agus, Yohanes Adhi Satiyoko, Kustri Sumiyardana, Basori Basori, Nontje Deisye Wewengkang, and Sri Yono. "Development of Creative Industries as A Multiplier Effect of Shadow Puppet Performances Resists the Plague in Pandanan Village, Soropaten, Klaten District." ETNOSIA : Jurnal Etnografi Indonesia 9, no. 2 (2024): 214–30. https://doi.org/10.31947/etnosia.v9i2.37150.

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Shadow puppets performances have been carried out for generations in Pandanan Village, Klaten Regency as a ritual to repel disease outbreaks. The performance ritual was suggested by Kyai Karsoredjo to Pandanan residents as a request to God for the disease outbreak to be eliminated. Regular performances are held every month of Sura, but over time based on the character bugs, shadow puppet performances are also held every Friday Pound night. Local people are involved as spectators, ritual performers, and traders in shadow puppet performances. Along with the development of the economy, UNESCO whi
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Milovanović, Ana. "Puppet animated by actor in the function of acquiring of the initial mathematical concepts." Metodicka praksa 28, no. 1 (2025): 71–89. https://doi.org/10.5937/metpra28-57202.

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The research of the puppet animated by actor in the function of acquiring of the initial mathematical concepts confirmed the basic hypothesis: puppet is important for the adoption of initial mathematical concepts and in that function can be successfully applied. The paper has revealed a new aspect of the application of the puppet in the function of acquiring mathematical concepts, as an active performer of their representation (and not, as usual, a mediator).The results of the research, which sample was the children puppet program of Television of Belgrade, pointed to significance of puppet in
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Hadiniyah, Nur, and Akhtim Wahyuni. "THE USE OF HAND PUPPETS TO IMPROVE SPEAKING SKILLS IN EARLY CHILDHOOD AT RA DARUNNAJAH." Academic Journal Research 3, no. 1 (2024): 10–18. https://doi.org/10.61796/acjoure.v3i1.256.

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Objective: This research aims to improve speaking skills in early childhood at RA Darunnajah through the use of hand puppets as an interactive learning media. Methods: A classroom action research design with two cycles was used, involving direct observation, interviews, and documentation. The study focused on measuring the effectiveness of hand puppets in enhancing speaking skills. Results: The use of hand puppet media significantly increased children’s active participation in speaking, expanded their vocabulary, and boosted their self-confidence. Storytelling activities with hand puppets crea
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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 (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
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Fadri, Zainal. "Aesthetic in Puppet Performance." An-Nuha : Jurnal Kajian Islam, Pendidikan, Budaya dan Sosial 8, no. 1 (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 resul
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Verdonik, Maja S. "PUPPET THEATRE ADAPTATIONS OF HANS CHRISTIAN ANDERSEN’S STORIES." Detinjstvo L, no. 4 (2024): 44–54. https://doi.org/10.46793/childhood24.4.44v.

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This paper analyses contemporary puppet theatre adaptations of selected Hans Christian Andersen stories. It aims to explore the connection between Andersen’s stories and the puppet theatre, as well as the characteristics of some of these shows to answer the question: what makes the analyzed stories work on the puppet stage? Results of the analysis have shown the connection between the selected stories and puppet theatre in terms of bringing the inanimate to life as a characteristic inherent to puppet theatre, and in the shift to the unreal as a key feature of fantasy stories, which in puppet s
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Mahamid, Mochammad Nginwanun Likullil. "Wayang Kardus sebagai Media Pembelajaran Kreatif untuk Melestarikan Budaya Lokal di Kabupaten Kediri." Besari: Journal of Social and Cultural Studies 2, no. 1 (2024): 1–14. https://doi.org/10.71155/besari.v2i1.87.

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This article describes cardboard puppets as an artistic innovation on local culture that adapts puppet art in a simpler form by using used cardboard as its main material. Through descriptive qualitative research, the article aims to examine the function of cardboard puppets as a creative learning medium as well as a means of preserving local culture in Kediri Regency. The results of the study show that cardboard puppets not only reintroduce puppet art to the younger generation, but also become an educational medium that involves students in creative activities. Making cardboard puppets trains
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Guidicelli, Carole, Anna Leone, Sara Maddalena, Didier Plassard, Janice Valls-Russell, and Jean Vivier. "On Pulchi Shake and Spear : An interview with Bruno Leone." Cahiers Élisabéthains: A Journal of English Renaissance Studies 117, no. 1 (2025): 128–36. https://doi.org/10.1177/01847678251339181.

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This interview explores the work of Bruno Leone, a Neapolitan puppeteer, credited with reviving the traditional Neapolitan guarattelle theatre. Leone discusses the history and characteristics of Guarattelle, a glove puppet theatre centred on the character of Pulcinella. He speaks of his training with Nunzio Zampella, his work in training new puppeteers, and the founding of the Scuola delle guarattelle. Leone also gives an insight into his creative process, his target audience and his approach to performing abroad. He also explains his work adapting classic authors such as Shakespeare, Cervante
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Ceccarelli, Sofia, Erika Cao, Noemi Orazi, et al. "Papier-Mâché Puppets’ Characterization by Infrared Imaging Techniques." Heritage 5, no. 3 (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 parti
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CIOBOTARU, Anca Doina. "The Destiny of Puppets – a necessary story." Theatrical Colloquia 15, no. 1 (2025): 177–80. https://doi.org/10.35218/tco.2025.15.1.16.

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In a world dominated by financial calculations, virtual reality, and efficiency, monographs dedicated to puppet theaters theoretically fall into that niche category of books with limited prospects for fame. And yet, Violeta Tipa, an experienced scientific researcher, takes the risk of consistently following the “destiny of puppets” – the protagonists of the Municipal Theater "Gugu?ă" in Chi?inău – and turning it into a necessary story about passion, dedication, and perseverance. Through these elements, a dream-theater can become a well-defined cultural reality; a story within which three persp
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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 (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 prosoci
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