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Artykuły w czasopismach na temat „Work with puppets”

Autor: Grafiati

Data publikacji: 3 czerwca 2025

Data aktualizacji: 31 lipca 2025

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1

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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2

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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3

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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4

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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5

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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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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7

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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8

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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9

Burneikaitė, Salomėja. "Lėlių teatro technikų taikymo ergoterapeuto darbe patyrimas." Sveikatos mokslai 23, no. 1 (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 pr

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10

Lanberg, O. A., L. G. Khayet, and T. V. Kadinskaya. "Systemic Puppet Therapy in Rehabilitation Practice." Bulletin of Rehabilitation Medicine 99, no. 5 (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 o

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11

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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12

Petrović, Marijana. "On the wings of imagination: The 8th Biennial of puppetry artists of Slovenia." Maska 31, no. 181 (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 als

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13

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

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

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14

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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15

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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Fawwaz, Muhammad Naufal. "KONSEP PENCIPTAAN FILM WAYANG HOROR BEKASAKAN." LAYAR: Jurnal Ilmiah Seni Media Rekam 9, no. 2 (2023): 65. http://dx.doi.org/10.26742/layar.v9i2.2416.

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ABSTRACT Bekasakan is a horror movie that uses shadow puppets as the object of its character. This work aims to create a new genre in the shadow puppets of Java, especially in packaging horror themes as special performance plays. Based on puppet performances which were later adapted into a movie perspective, this work is one of the most attractive offers for teh shadow puppets. The novelty of this work is the formation of the demonic figure of Mahakali, which is realized by depicting a strange anatomy of the body and at the same time giving the audience a scary impression. In addition to

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17

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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18

Pranatalisa, Leocadia Desy, and Ridwan Sanjaya. "Gatotkaca Birth Story As A First Step To Introduce Children With Puppets." SISFORMA 2, no. 2 (2017): 49. http://dx.doi.org/10.24167/sisforma.v2i2.842.

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Puppet is most prominent one of the arts in Indonesia. In the puppet also has good values delivered. In an educational pursuit puppet story are characters that are also included in the 18-character value that has been determined by the curriculum in 2013 as efforts to establish the desired character of the nation and the State.Although the puppet contains good values that can be emulated, unfortunately generation of young people today just do not know the puppet. This is influenced by the development of technology that can not only be used to help complete the work, but also as a means of ente

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Bayu Senopati, I. Gusti Agung, I. Made Sidia, and I. Gusti Ngurah Gumana Putra. "PENCIPTAAN KARYA PAKELIRAN SAJAK "GEDOG GERODOG"." JURNAL DAMAR PEDALANGAN 5, no. 1 (2025): 52–58. https://doi.org/10.59997/dmr.v5i1.4887.

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The final project script of the Independent Study Project was conducted for one semester at the Sanggar Seni Hari Dwipa Gamelan Group, with the aim of creating a Balinese puppetry art work called Pakeliran Sajak Gedog Gerodog, which raises the phenomenon of Gedog Gerodog in the world of Balinese puppetry. This final project research uses a combination research method, namely quantitative research method and qualitative research method, with data collection through interviews and observations. The results of the study show that Gedog Gerodog is a phenomenon that is mystical and realistic, which

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Korošec, Helena, and Marcela B. Zorec. "The impact of creative drama activities on aggressive behaviour of preschool children." Research in Education 108, no. 1 (2019): 62–79. http://dx.doi.org/10.1177/0034523719858219.

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This article presents the findings of a research study examining the impact of creative puppetry activities on aggressive behaviour in preschool children. The aim of creative drama was to allow for experiences that help children understand interpersonal relations, put themselves in another’s shoes and see alternative possibilities of behaving or acting in given situations. Play with a puppet in small groups offers children opportunities to establish pro-social peer interactions and learn socialisation skills including solving minor conflicts. The research was conducted with 22 preschool teache

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Mirsajadi, Ali-Reza. "And of Clay We Are Created." TDR: The Drama Review 66, no. 3 (2022): 38–51. http://dx.doi.org/10.1017/s1054204322000284.

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Iranian theatre director Zahra Sabri’s dramaturgy layers performers and puppets, puppets and puppeteers, collapsing distinctions between the inanimate and the animate in ways that allow spectators more freedom to interpret her work. Her 2012 Count to One enacts the creation, animation, and destruction of clay puppets while telling a story of three soldiers who refuse to follow orders to bomb a foreign city.

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Parta, I. Wayan Seriyoga, and I. Wayan Suardana. "Subconscious Memory Narrative In The Exploration Of Iconic Puppet Of I Ketut Teja Astawa’s Painting." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 3, no. 1 (2020): 8–14. http://dx.doi.org/10.31091/lekesan.v3i1.1042.

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The process of creation in creating works of art is stimulated by various factors, one of which is the personal experience of the artist who is so imprinted that makes it an inspiration and motivation in the work. In the context of the creation of experiential works of art, it then undergoes a process of internalization and interpretation in an artist, which is then reconstructed back into the medium of art. The reconstruction is related to the reimagining process, which at the level of implementation can vary by artist. Similarly, the work process of Teja Astawa, a young artists who grew up i

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I Made Sidia. "The Theatre of “Glass Puppetry” Enhanced With The Use of The Technology of Lighting." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 6, no. 2 (2023): 170–81. http://dx.doi.org/10.31091/lekesan.v6i2.2538.

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The life of a Wayang Artist is an honorable role to have in the society of the Balinese people. Storytellers using the art of the wayang are highly respected, whose role in the community is to pass on the precious stories about the history, the culture and the spiritual heart of the Balinese people. The Wayang artist, known as the dalang goes on a life journey in sharing their philosophies through stories for the enrichment and soul of society. The process of internalization of the Puppet master from an early age through the world of wayang, forms a cognitive map of the creator who is immersed

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24

Fu, Qin, and Qingtong Hu. "Study of Chinese Shadow Mapping Classification with the Application of Deep Learning Algorithms." Computational Intelligence and Neuroscience 2022 (May 25, 2022): 1–7. http://dx.doi.org/10.1155/2022/7050260.

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Shadow puppetry is a traditional Chinese fascinating theatre act performed by large group of artists. An artist generally uses sticks, transparent cloth screen, and flat puppets behind an illuminated background to create illusion of moving pictures during the act. These acts showcase the culture, heritage, social belief, and customs of Chinese and are a popular form of entertainment especially to youths. The modern method of digital shadow puppetry has gained a tremendous interest in the diversifying entertainment industry. Proper identification and classification of shadow puppetry is a tedio

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Guidicelli, Carole. "Visualising Shakespeare: The impact of puppetry on dramaturgy and interpretation." Cahiers Élisabéthains: A Journal of English Renaissance Studies 117, no. 1 (2025): 96–110. https://doi.org/10.1177/01847678251339031.

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Contemporary puppetry reveals complex layers of meaning in Shakespeare's plays by exploring the interactions between dramaturgy, puppets and objects, and mental images. This study examines this complexity, focusing on (1) how object theatre repurposes objects to represent characters, exploiting the meta-theatrical dimension of Shakespeare's work; (2) how object theatre reconstructs dramatic action from a character's point of view, enriching their subjectivity; (3) how puppeteers resurrect the past with ghostly presences; and (4) how tensions between artificial and live actors create hybrid wor

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Strauss, Skye. "Puppetry and Public Spectacle." Intonations 2, no. 1 (2023): 9–23. http://dx.doi.org/10.29173/inton79.

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Flight of the Phoenix, a puppet pageant at Northwestern University, became more than a way to perform despite safety restrictions – the build also became a valuable way to create community during the ongoing Covid-19 pandemic. The shared project of bringing the puppets to life through simple techniques that invited hands-on participation, helped the artistic community to come together again as we emerged from extended isolation. The spark of the project––that began with a simple proposal to fly bird puppets down the lakeshore––brought together a team of designers, makers, directors, puppeteers

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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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Hicela, I., and J. Sindik. "Differences in prosocial and aggressive behavior in preschool children depending on the frequency of interaction between the child and a puppet." Paediatria Croatica 55, no. 1 (2011): 27–34. http://dx.doi.org/10.13112/pc.808.

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Introduction: Puppets are an important educational and therapeutic agent, and an impetus for creative expression in children. Therefore, educators in kindergarten should be familiar with puppets as a medium which is able to stimulate the development of the children. The main goal of this study was to answer the question: are there differences in prosocial and aggressive behavior in preschool children in relation to the frequency of the teacher’s use of puppets in her educational work? Materials and methods: Twenty teachers in kindegartens assessed the level of prosocial or aggressive behavior

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Budiarta, I. Wayan, and I. Gusti Ngurah Tri Adiputra. "PUSAT PEMBINAAN DAN PENGEMBANGAN KESENIAN WAYANG DI BALI." Jurnal Anala 8, no. 1 (2020): 45–58. http://dx.doi.org/10.46650/anala.8.1.936.45-58.

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The existence of some puppets show in Bali are significantly marginalized at recently in the midst of any entertaiments growing up. There are a tendency that the puppets show are almoust going to be extinct, for an example Nongnong Kling Puppet at Paksa Bali Village, Klungkung regency. The sacred puppet show was able to be performed until 1988, because its group members are dispersed and there is only one senior dancer still remains. The similar condition was happened at custom village of Manggis, Manggis subdistrik at Karangasem regency. The village had ever possesed a Telek Puppet group at (

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Quiros, Oscar Echo. "Puppet Drama As an Instrument of Environmental Preservation." International Journal of Science and Society 1, no. 3 (2019): 103–19. http://dx.doi.org/10.54783/ijsoc.v1i3.33.

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This document discusses the knowledge about the promotion of environmental protection through the use of puppets and simple practical tests for the first grade in rural areas in southwestern Costa Rica. Twenty-eight college students wrote a puppet show, designed and built a puppet show, held presentations, and supervised scientific experiments. The experiments tried to uncover some of the natural onions that are related to the problems in the theater work. In 2016 and 2017, a total of 334 seven-year-old students from 19 primary schools participated. Students' views and answers to questions add

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Mirbt, Felix. "My Story." Canadian Theatre Review 95 (June 1998): 4–9. http://dx.doi.org/10.3138/ctr.95.001.

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Wijayanti, Nurti. "PEMANFAATAN KARDUS BEKAS SEBAGAI ALAT PERMAINAN EDUKATIF UNTUK MENINGKATKAN KREATIVITAS ANAK DIDIK KELOMPOK BERMAIN." JIV 1, no. 1 (2006): 77–84. http://dx.doi.org/10.21009/jiv.0101.9.

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Creativity is one of the objectives for nonformal education. However, creativity is not well developed enough as it was observed at Play Group of Aisyiyah 02 Pati. Through waste cartoon, children can be trained to develop their creativity. The article reports the progress of how waste cartoons be made as puppets. It is an art work, and students should be creative. The progress shows how talented and creative learners are in producing puppets and telling stories , too.

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Marajaya, I. Made. "Pakeliran Layar Lebar." Linguistics and Culture Review 7, no. 1 (2023): 22–38. http://dx.doi.org/10.21744/lingcure.v7n1.2241.

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This study aims to describe the development model for Balinese shadow puppet shows in the era of globalization. For nearly thirty years, Balinese shadow puppet performances marked ups and downs of requests from the public to respond to and watch them, especially for traditional performances. For this reason, to restore the Balinese shadow puppets to revival in the era of globalization, young puppeteers try to save them by exploring, preserving, and developing shadow puppet shows by creating a new work called Pakeliran Layar Lebar. The work on Pakeliran Layar Lebar is one of the genres of tradi

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Dilek, Mert. "Finding T.S. Eliot’s “Little Devils”: Marionettes and Sweeney Agonistes." Modern Drama 66, no. 3 (2023): 319–48. http://dx.doi.org/10.3138/md-66-3-1260.

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Taking its cue from T.S. Eliot’s early marionette poems, this article argues that the puppet, and the puppet-like, played a vital but critically neglected role in the development of Eliot’s early dramaturgy and its practical, though partial, realization in his first play, Sweeney Agonistes (1926–27). Eliot’s penumbral evocations of the marionette in his reviews of human performers from the early 1920s point to his fascination with grotesque and inhuman styles of performance. This critical stance, along with modernist theatre’s broader preoccupation with puppets, shaped Eliot’s first foray into

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Audya Pridita Sugilar, Taufan Hidayatullah, and Yully Ambarsih Ekawardhani. "A Comparison of The Character of The Punakawan Petruk in Wayang Purwa With The Comic by Tatang Suhenra." Proceeding of International Conference on Business, Economics, Social Sciences, and Humanities 8 (June 20, 2025): 364–73. https://doi.org/10.34010/icobest.v8i.708.

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In 1980, Tatang S published the comic character of Punakawan Petruk and Gareng. Research on the comparison of visualization of Punakawan character Petruk aims to compare visual Petruk in Purwa puppets with comic by Tatang Suhenra. This research is limited to reviewing only the character Petruk. This character study research was conducted to find a visual comparison of the Petruk character in the puppet show and in the comic. This research uses a comparative qualitative method. The results of the study found differences and similarities in the eyes, nose, hair, ears, body proportions, and cloth

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Neode, Haris Candra, I. Gede Yosef Tjokropramono, and I. Dewa Putu Gede Budiarta. "Figures of Classic Kamasan Painting as Inspiration for the Creation of Modern Painting." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 3, no. 2 (2023): 174–89. http://dx.doi.org/10.59997/ctkr.v3i2.2994.

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The classic painting of Wayang Kamasan began when the Modara puppet painting, made by I Gede Mersadi was favored by the king of Klungkung. Then he was given the nickname Modara according to the puppet figure he painted. By king Klungkung Modara was sent to work on many projects so that his puppet painting style spread and until now it is known as Classical Painting Wayang Kamasan. The characteristic of this painting can be seen from the coloring technique that uses the sigar warna and sigar mangsi techniques. (Ni Wayan Sri Wedari, 2022:9). Broadly speaking, the forms of wayang can be distingui

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Einarson, Kathleen M., and Laurel J. Trainor. "The Effect of Visual Information on Young Children’s Perceptual Sensitivity to Musical Beat Alignment." Timing & Time Perception 3, no. 1-2 (2015): 88–101. http://dx.doi.org/10.1163/22134468-03002039.

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Recent work examined five-year-old children’s perceptual sensitivity to musical beat alignment. In this work, children watched pairs of videos of puppets drumming to music with simple or complex metre, where one puppet’s drumming sounds (and movements) were synchronized with the beat of the music and the other drummed with incorrect tempo or phase. The videos were used to maintain children’s interest in the task. Five-year-olds were better able to detect beat misalignments in simple than complex metre music. However, adults can perform poorly when attempting to detect misalignment of sound and

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Suhardjanto, Djoko, Supriyono ., Aji Nusantara, et al. "Accountability of Shadow Puppet Performances as Evidence of Surakarta's Local Wisdom: Perspective of Stakeholder Satisfaction." International Journal of Religion 5, no. 10 (2024): 546–50. http://dx.doi.org/10.61707/1x7xey36.

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This study explores how the accountability of shadow puppets in performances using the perspective of stakeholder theory is related to accountability, so that it can be in accordance with the principle of accountability, where in every organization and stakeholders get satisfaction as in stakeholder theory. Wayang performance as a noble value in the culture of local wisdom in Surakarta in particular, is expected to run sustainably and sustainably, namely by paying attention to the stakeholders in it, namely sinden, pins, niyaga, pangrawit and sound system workers, whether it has run well accor

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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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Mudra, I. Wayan, I. Gede Mugi Raharja, and I. Wayan Sukarya. "Estetika Visual Kriya Keramik Berornamen Wayang Khas Bali." Gondang: Jurnal Seni dan Budaya 5, no. 1 (2021): 53. http://dx.doi.org/10.24114/gondang.v5i1.21036.

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The Balinese puppets in the traditional paintings as a cultural heritage has inspired Balinese craftsmen created ceramic works of aesthetic value. The efforts these craftsmen can be read as resistance to entry the ceramic works from outside and the production of the ceramic art in Indonesia that ignore Indonesian characters. This study aims to discuss the aesthetics of visuals ceramic works that apply Balinese puppets ornaments. The data collection method by observation and documentation. The results showed that the aesthetics of the ceramic craft products with Balinese puppets ornaments seen

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

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

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Pratiwi, Khairunnisa Angriani, and Nur Hazizah. "Pengaruh Kreativitas Boneka Tangan Dari Kaus Kaki Bekas Terhadap Kreativitas Anak di RA Aqila Sintuk Toboh Gadang Kabupaten Padang Pariaman." PrimEarly : Jurnal Kajian Pendidikan Dasar dan Anak Usia Dini 6, no. 2 (2023): 68–78. http://dx.doi.org/10.37567/prymerly.v6i2.2272.

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Creativity is a person's ability to create and find new things that are meaningful and useful, new ideas, and find ways to solve problems. This will be seen in the work of children who can express ideas and opinions so that they can develop children's creativity. Creativity can be done with innovative activities, one of which is through hand puppets from used socks. Hand puppets are media that are used as media for aids in learning activities that are larger in size than finger puppets and can be put into hands. This type of research is quantitative with experimental methods in the form of qua

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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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Kardum, Goran, Dubravka Kuščević, and Marija Brajčić. "The Impacts of Different Sorts of Art Education on Pupils’ Preference for 20th-Century Art Movements." Education Sciences 10, no. 1 (2020): 15. http://dx.doi.org/10.3390/educsci10010015.

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The research presented here aims to determine how art education influences students’ preferences for the 20th-century art movements. An educational experiment that spanned through one school year was conducted on 200 primary school students. It included three types of intervention: observing works of art from the 20th century, introducing works of art using a puppet, and the students’ art activities/artwork based on the 20th-century art movements. The results show that the model of art education is an important factor in changing students’ preferences for the 20th century art movements. Studen

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Habiburrahman, Lalu. "Locality vs Globality: Wayang Sasak's Practice and Teaching in the World Literature." Jurnal Kependidikan: Jurnal Hasil Penelitian dan Kajian Kepustakaan di Bidang Pendidikan, Pengajaran dan Pembelajaran 8, no. 4 (2022): 1063. http://dx.doi.org/10.33394/jk.v8i4.5834.

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This research aims to examine the issue of the relationship between locality and globality which is the practice of Sasak puppets in teaching global literary values. The research was conducted on the work on the play Brambang Ulung, one of Amir Hamzah's series of stories in the Sasak puppet. The method combines ethnographic studies, video recordings, literature reviews and interviews. Processing the data using the movie avi 15 plus and excel. This research applies discourse analysis and representation of the Bourdieusian model. Data analysis showed that the field practice lasted all night arou

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Kusumawati, Ita Rahmania. "RELIGION AND CULTURE BASED ARTS SUSTAINABILITY MODEL IN THE “AMONG” SYSTEM: EMPIRICAL STUDY IN BUTUH, THE WAYANG HAMLET." ARTISTIC : International Journal of Creation and Innovation 5, no. 2 (2024): 160–76. http://dx.doi.org/10.33153/artistic.v5i2.6437.

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It is scarce to find a village where most of its citizens are engaged in traditional wayang crafts, especially if the most residents are Muslims. Moreover, the number of puppets needed to fulfill shadow puppet shows is limited throughout the world. However, the fact shows that Butuh Hamlet has a majority of residents who work as wayang artisans and still exist today, a model for the continuation of traditional arts in facing tough challenges and is an example of the sustainability of traditional arts in facing tough challenges, both externally and internally. This sustainability can be seen in

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Evans, Florence. "Crossing the (abyssal) line: Performing the violence of the witness in Buenos Aires." Art & the Public Sphere 12, no. 1 (2023): 47–59. http://dx.doi.org/10.1386/aps_00084_1.

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In 2002, Emilio García Wehbi’s multi-site performance artwork, Proyecto Filoctetes: Lemnos en Buenos Aires saw the dissemination of 23 lifelike human puppets across Argentina’s capital, each with a gesture and position intended to intimate a state of unconsciousness or death. Participant-observers of the artwork recorded reactions to the puppets using written fieldnotes, video and photography – objects which now describe the performance in posterity through a digitized archive. This article focuses on the project’s transformation – its distorting and refracting – of a real-world social relatio

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Taxidou, Olga. "Puppets, Actors and Directors: Edward Gordon Craig and the Euopean Avant-garde." Miscelánea: A Journal of English and American Studies 20 (December 31, 1999): 73–84. https://doi.org/10.26754/ojs_misc/mj.199911236.

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This essay reads the work of Edward Gordon Craig within the tradition of the European theatrical avant-garde. Though he is hailed as one of the "prophets" of twentieth-century theatre, Craig and his overall project are almost never read within their historical and ideological context. Rather than viewing his work as an exception within the mainly literary experiments in Anglophone modernist theatre, this essay proposes a reading that finds parallels between Craig and his European contemporaries. Craig's view of the "art of the theatre" as a distinct discursive practice and not as an extension

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Slamet, Yosep Bambang Margono. "CONSTRUCTING A COURSE ON INDONESIAN SHADOW PUPPETS FOR INTERNATIONAL STUDENTS." Celt: A Journal of Culture, English Language Teaching & Literature 14, no. 1 (2014): 16. http://dx.doi.org/10.24167/celt.v14i1.54.

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Abstract: This paper is a course design on Indonesian shadow puppet to promote Indonesian culture to international students as a way of building a cultural bridge to create global citizens. In todays world, it is of paramount importance for every individual from diverse cultural, linguistic, and ethnic backgrounds to understand each other and work together. Creating this course is to introduce and promote an aspect Indonesian culture so that international students are more interested in and knowledgeable of Indonesian people and culture in general. Even though students only learn an aspect of

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Rojas-Bermúdez, Jaime, and Graciela Moyano. "Puppets as psychotherapeutic instrument: Intermediary and intra-intermediary object in psychodrama." Journal of Applied Arts & Health 11, no. 1 (2020): 135–41. http://dx.doi.org/10.1386/jaah_00025_7.

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This article provides an explanation of the origins and conceptualization of the term ‘intermediary object’, based on the clinical practice developed by Jaime Rojas-Bermúdez, with chronic psychotic patients sunk into self-absorption. Its characteristics and relationship with natural communication are presented as well as its applications in other psychotherapeutic contexts; this led us to conceptualize the intra-intermediary object and allowed us to work more effectively with objects in the psychodrama clinic.

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