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Articles de revues sur le sujet « Puppet theatre »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 26 juillet 2025

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1

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

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

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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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TYTARENKO, Yana. "APPLICATION OF EXPRESSIVE MEANS OF PUPPET THEATRE AND OBJECT THEATRE IN PERFORMANCES BASED ON POEMS BY LINA KOSTENKO (KHMELNYTSKYI PUPPET THEATRE “DYVEN”, IVAN FRANKO NATIONAL UNIVERSITY OF LVIV)." Bulletin of the Lviv University. Series of Arts Studies 243, no. 25 (2024): 159–68. https://doi.org/10.30970/vas.25.2024.159-168.

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The article analyses the latest, full-fledged in 2024, trend in the repertoire of professional and student puppet theatres of Ukraine – an address to the works of Lina Kostenko, the outstanding poetess of the generation of the ‘60s (shestydesyatnyky). It can be considered in a broader context as the mastery of puppet theatre groups of poetic works of modern Ukrainian authors – Serhii Zhadan, Oksana Zabuzhko, etc. – whose names have not yet appeared on the posters of this type of theatre, during the full-scale Russian-Ukrainian war. Unlike the segment of the repertoire for children based on pla

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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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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 “poup&#233;e” 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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Rei, Leino. "Tossed on the seas of Visual Theatre: challenges to Puppetry’s survival as an independent discipline." Móin-Móin - Revista de Estudos sobre Teatro de Formas Animadas 2, no. 25 (2021): 240–84. http://dx.doi.org/10.5965/2595034702252021240.

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The goal was to understand the current situation and give an overview of Baltic and Nordic countries' puppet theater and puppet theater training traditions and whether and how the puppeteer's profile has changed recently. To get an idea of the trends in this area, the common ground of the different countries, I interviewed theatre makers from Finland, Sweden, Norway, Latvia, Lithuania, and Estonia. The title of this research is "Tossed on the seas of visual theatre: challenges to puppetry’s survival as an independent discipline."To have a wider look at the puppetry, I also did two additional i

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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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Stefanova, Kalina. "When drama theatre meets puppetry: How a unique symbiosis brought about distinctive changes in Bulgaria’s theatre." Maska 31, no. 181 (2016): 120–28. http://dx.doi.org/10.1386/maska.31.181-182.120_1.

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The text outlines the unique symbiosis between drama and puppetry that started taking shape on Bulgarian theatre stages in the mid-1990s and gradually became a distinctive new theatre reality that changed the face of Bulgarian theatre. It was created by Alexander Morfov, CREDO Theatre and Stefan Moskov, along with a number of actors – all of them puppet theatre graduates – in their collaboration with the Bulgarian National (and other drama) Theater(s).

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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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MOLONY, MARTIN G. "‘Oh, This Is More of Stretch’s Show’: Randal Stretch and Puppet Theatre in Eighteenth-Century Ireland." Eighteenth-Century Ireland: Volume 37, Issue 1 37, no. 1 (2022): 91–107. http://dx.doi.org/10.3828/eci.2022.6.

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This article outlines the popularity - and financial success - of an eighteenth-century Dublin puppet theatre that threatened mainstream theatres of the time. Randall Stretch’s puppet theatre, in Dublin’s Capel Street, became the centrepiece for satirical and political commentary of the day. Stretch’s theatre caught the attention of Dean Swift and his circle and is commemorated in satirical verse of the period. For decades, Dubliners used the phrase ‘This is more of Stretch’s Show’ to refer to anything outlandish or incredible. The article underlines the power of the puppet theatre as a satiri

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Yuryeva, Olga Yu. "People and Puppets and Puppet-People in the Play Uncle’s Dream by the Irkutsk Puppet Theatre “Aistenok”." Dostoevsky and World Culture. Philological journal, no. 4 (2022): 220–36. http://dx.doi.org/10.22455/2619-0311-2022-4-220-236.

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The review examines the performance of the Irkutsk puppet theatre “Aistenok” Uncle’s Dream, staged on the occasion of the writer’s 200th anniversary. The author analyzes the expressive means that allowed the director and actors to examine in depth Dostoevsky’s idea, vividly and remarkably represent the characters, offer an original interpretation that does not destroy the author’s concept, leveraging the dramatic intentions implied in the novella, thanks to the synthesis of acting and puppet theatre. The puppet materializes and visualizes a person’s vices, masks, secret aspirations, and desire

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

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HAEKHAM, Sonesay. "Cultural Management Case Study Puppet Show Luang Prabang City, Luang Prabang Province." Souphanouvong University Journal Multidisciplinary Research and Development 10, special (2024): 13–20. https://doi.org/10.69692/sujmrd10special13.

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This research paper aims to 1. Study the elements in the transmission of e-pok puppet theatre and 2. Analyze the reality of the persistence of e-pok puppet theatre in Luang Prabang province. The research method is to collect field data by interviewing. The sampling of this research was the village chief, five community members, ten respondents from the Luang Prabang province's department of information culture and tourism, the head of Phalak-Phalam Lao theatre, and two outside experts. Its elements in the e-pok puppet show with the relevant parties and analyzing the reality of the existence of

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

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Peter Schumann's Bread and Puppet Theatre was formed in New York in 1963, and gained an international reputation for its unique combination of larger-than-life puppetry and celebratory pageantry. After leaving New York in 1970, Schumann finally settled on a thirty-acre site in Vermont in 1974, but Bread and Puppet has continued to travel far afield, and in the original Theatre Quarterly. No. 19 (1975). their Californian residency for the ‘anti-bicentennial’ celebration, A Monument for Ishi. was documented, along with practical material on the making of the puppets-and the bread. While Bread an

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Bell, John. "The Bread and Puppet Theatre in Nicaragua, 1987." New Theatre Quarterly 5, no. 17 (1989): 8–22. http://dx.doi.org/10.1017/s0266464x0001530x.

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PETER SCHUMANN's Bread and Puppet Theatre began 25 years ago as a new way of making modern theatre, and as Schumann sees it, still is. As he recently stated, “there are two aspects to this newness: (1) the proposal for a much bigger, wider space for the arts to exist in than the space that the arts occupy now – a way for painting, music, sculpture, and language to exist together and in response to the questions of the time in which they live; and (2) the puppet theatre aspect: puppet theatre not as a special branch of theatre but as a challenge to theatre, as a concrete proposal for the overco

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Stanciu, Daniel. "The Beginnings of the Cult Puppet Theatre in Romania." Klironomy 2, no. 5 (2022): 27–35. https://doi.org/10.47451/art2022-05-03.

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The Romanian puppet theatre had many forms of tradition, which appeared as a result of many intercultural influences. The Ukrainian vertep influenced the marionnette tradition of vicleim, the influence of turkish karagöz is present in the satirical theatre from 18th century, Punch and Judy and Kasperle are similar with the romanian Vasilache, a.s.o. Many of these popular traditions survived until the middle of the 20th century. However, at the beginning of the 20th century, a modern form of puppetry art was born, as in the other countries from Europe. This phenomenon occured especially as

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

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In the Polish theatre of the second half of the 20th century, and it seems that also in that of the first quarter of the 21st century, the most important person is the director. Was it always so that puppet theatre equals the director? So, the objectives of this study to determine this problem. It was only in the 20th century, beginning with the period of the great reform of theatre, that the director was given unlimited competencies. In puppet theatre this process took much longer, because the classical style of theatre organization, derived from unaccompanied and private enterprises of parti

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

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Dafa Puppet Theatre works with refugee communities to enable expression and change people’s lives through puppetry. Dafa’s work is on the boundaries of visual arts, puppetry, music, family gathering, food and a range of different elements. The idea of the puppet is something that you can touch and sense, yet it is on the borders between reality and fiction. There is always the possibility that the gates of imagination can be opened by this object, which can have many symbolic meanings. In this article, a reflection transcribed from an interview with Laura Purcell-Gates, Husam and Réka discuss

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

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Zhumaseitova, G., and A. Sabit. "PROBLEMS AND PROSPECTS OF THE DEVELOPMENT OF KAZAKH PUPPET THEATER IN THE CONTEXT OF ARTISTIC EXPLORATIONS OF THE GLOBAL THEATRICAL PROCESS." ARTS ACADEMY 13, no. 1 (2025): 5–17. https://doi.org/10.56032/2523-4684.2025.1.13.5.

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This study examines the directorial techniques and new stage forms in puppet theatre while analyzing the experiences of leading theatre companies worldwide. The article demonstrates that puppet theatre is not merely an art form intended for children but a complex theatrical phenomenon that explores social, philosophical, and psychological issues. Furthermore, it discusses the future development prospects of puppet theatre and its potential expansion through new technologies and experimental approaches. Specifically, the study investigates the integration of puppet theatre with cinema, choreogr

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

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

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Reuss, Gabriella. "The corporeal and the intangible : puppet theatre in the digital age." Theatralia, no. 2 (2024): 28–44. https://doi.org/10.5817/ty2024-2-3.

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In recent years, theatre has increasingly integrated technology, with scholars exploring concepts like 'liveness' and 'mediatization' (AUSLANDER 1999), 'presence' (POWER 2008), and 'intermediality' (DERES 2015). However, these discourses have often overlooked puppetry as a medium. This paper argues that it is time to include puppetry in these discussions, particularly where live acting and digital tools intersect. Examining the production Dekameron2023 (Budapest Puppet Theatre), the paper uses Bolter and Gursin's concepts of immediacy and hypermediacy and proposes to explore the interplay of t

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

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

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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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Cohen, Matthew Isaac. "Ramayana and Animism in "Wayang" Puppet Theatre." AOQU (Achilles Orlando Quixote Ulysses). Rivista di epica 4, no. 2 (2023): 227–47. http://dx.doi.org/10.54103/2724-3346/22208.

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Traditions of wayang puppetry in Indonesia realize what Philippe Descola refers to as an «animist ontology». Not only human figures, but also what Tim Ingold calls «nonhuman persons», including personal possessions, landforms, and animals, possess consciousness and interiority. Among wayang’s diverse story sources, the Ramayana stands out for its animistic qualities. Episodes depict interactions between humans, ogres, monkeys, deities, and other nonhuman persons, activating the potential of the medium for representing transformation and theatrically mining the suspension of natural laws. This

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Vigato, Teodora. "Scenografija Kazališta lutaka u Zadru." Magistra Iadertina 5, no. 1. (2018): 65–88. http://dx.doi.org/10.15291/magistra.1478.

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The author discusses the development of scenography and puppet design in Zadar Puppet Theatre in the context of Croatian puppeteering in the second half of the 20th century. Reconstruction of visual poetics starts with the analysis of first scenographies in 1950s and 1960s and with the analysis of initial attempts to regard scenography as an equal component of scenic expression along with animation, particularly with speech. The paper also includes some less known information about the greatest Croatian puppet theater scenography master, Mojmir Mihatov, who had his own unique way of designing

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

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

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Végvári, Viktória. "Közlekedésbiztonság és légoltalom, avagy a bábszínház mint alkalmazott színház." Theatron 14, no. 3 (2020): 89–97. http://dx.doi.org/10.55502/the.2020.3.89.

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In my paper, I compare Béla Büky’s air raid safety puppet performance (Légvédelmi Jóska és Légoltalmi Kati /Joey Air-raid-defense and Katie Air-raid-safety/ 1939) with the Traffic Rules and Regulations performance created by the puppetry students of the National Puppet Theatre in 1974. I strive to examine the methods used by these applied puppet theatre productions, I enumerate the dramaturgical and narrative devices the authors rely on: by introducing and comparing the surviving fragments and versions of texts, I seek to circumscribe the tension that emerges between the educational intent of

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

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

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

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

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

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Antal-Bacsó, Borbála. "Női testek a bábszínpadon." Theatron 15, no. 3 (2021): 117–23. http://dx.doi.org/10.55502/the.2021.3.117.

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Women are objectified on the stage of puppet theatre: they are puppets, with functional bodies crafted for the performance. At the same time, these heroines are feminised objects, who experience and perform their femininity through their object nature, the abilities and functions inherent in their bodies. This paper seeks to answer the question – how, and for what purpose should we use a puppet body that has a gendered identity.

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

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RESUMO: O mundo do teatro de bonecos em Portugal está envolto numa bruma, devido, em parte, a algum desinteresse da classe teatreira, mas principalmente, à escassa documentação sobre esta arte ancestral. O teatro de marionetas popular era pouco palavroso, em oposição ao teatro de atores de carne e osso, onde o verbo era fundamental. O repertório de texto diminuto, transmitido por via oral, levou à perda substancial de um entretenimento que fez os encantos de miúdos e graúdos ao longo dos séculos. Uma das lacunas é a génese dos próprios apodos pelos quais os bonifrates eram conhecidos. Atualmen

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

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

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Fesenko, S. Ya. "Features of the education of the actor-puppeteer." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 192–208. http://dx.doi.org/10.34064/khnum1-51.11.

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Background, objectives of the research. The article reveals the method of improving the professional skills of the actor of the puppet theater, aimed at the organic connection of the puppet technique with the actor’s internal psycho-techniques. The peculiarity of creating a stage image in the puppet theater is that the functions of the puppeteer actor in the creating of a role “on the inside line” coincide with the functions of the drama theatre actor. However, the process of making the stage character in the puppet show is built according to other laws: “vitalizing” through the puppet – the m

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Skene, Rick. "Winnipeg Close-ups / 4, PRIMUS Theatre Training for Independence." Canadian Theatre Review 66 (March 1991): 32–35. http://dx.doi.org/10.3138/ctr.66.006.

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Founded in 1988, primus is one of several small theatre companies that have sprung up in Winnipeg. Fickle subscription audiences have made times tough for larger theatres, and recent cuts to arts funding have seen the Manitoba Arts Council cancel operations funding for three small companies: Agassiz Theatre, Forty Below Mime and the Manitoba Puppet Theatre. Although the mac claims that specific circumstances demanded the cuts in each case, we have not seen any new grants of operations funding awarded to small theatres since. Nonetheless, small companies continue to struggle into existence and

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

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

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

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

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

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

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The article discusses the changes in puppetry that occurred mostly in the second half of the 20th century. It addresses the changes in organization that led from small family groups to institutionalized public institutions and follows the organizational example of ensembles of drama theatre institutions, as well as changes in the relationship between the animator and the puppet that allow the disillusioning emergence of the animator into the visual field of the viewer. The “manipulator” who is no longer hidden influences the change in the manner of narration, in the aesthetic and the political

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

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Federico García Lorca was a versatile artist, known as a musiáan, poet, dramatist, essaywriter, and the director and actor of the Barraca Troupe, to mention only some important moments of his short but outstanding artistic career. Since his poems and dramas are well known amongst the Hungarian audience, instead of repeating clichés, this study selected a segment of Lorca's life work that is still considered a foster child among literary genres. This genre is the puppet-theatre, which always played a significant role in Lorca's life. The roots of this enthusiasm must be sought in his childhood,

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

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

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Yabut, Daniel. "Interview with Mervyn Millar, director and puppet designer." Cahiers Élisabéthains: A Journal of English Renaissance Studies 117, no. 1 (2025): 148–61. https://doi.org/10.1177/01847678251339148.

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Mervyn Millar is an influential director and designer of puppets, who is most notably known for his puppet creations in War Horse for the National Theatre of London. His work on Shakespeare includes The Comedy of Errors (2005) directed by Nancy Meckler and As You Like It (2019) directed by Kimberley Sykes, both for the Royal Shakespeare Company. He kindly accepted to give an interview as part of the international PuppetPlays conference in May 2023 (Montpellier, France), with specific focus on his puppet work in Sykes's staging of As You Like It .

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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 (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, stimulate

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Kántor, Zsuzsanna. "Fény és árnyék : Bánky Róbert árnyjátékos munkássága." Theatron 14, no. 1 (2020): 81–91. http://dx.doi.org/10.55502/the.2020.1.81.

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This paper gives a brief summary of the oeuvre of two exceptional shadow puppeteers of 20th century Hungary, Béla Büky and László Vízvári. It also summarises the shadow puppetry performances held in the National Puppet Theatre between 1970 and 1982, and details the 1975 beginnings of shadow puppetry education.

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

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

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