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Connections Between Voice and Design in Puppetry: a Case-Study" (2015)

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Connections Between Voice and Design in Puppetry: a Case-Study University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2015 Connections Between Voice and Design in Puppetry: A Case- Study Ryan Skiles University of Central Florida Part of the Acting Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Skiles, Ryan, "Connections Between Voice and Design in Puppetry: A Case-Study" (2015). Electronic Theses and Dissertations, 2004-2019. 1179. https://stars.library.ucf.edu/etd/1179 CONNECTIONS BETWEEN VOICE AND DESIGN IN PUPPETRY: A CASE STUDY by RYAN M. SKILES B.S. Indiana University of Pennsylvania, 2000 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2015 © 2015 Ryan M. Skiles ii ABSTRACT Puppets have been entertaining, educating, and mesmerizing American audiences since the birth of our nation. Both in live theatrical events and TV/film, audiences have watched puppeteers bring their puppet characters to life with clever voice quality choices, unique characterizations, and vivid visual designs. This thesis is a case study that first borrows insight from cartoon character designers, animators, and voiceover actors to provide considerations for voice quality choices, characterizations, and design elements when creating a new puppet character. It then investigates the connections that exist between those three elements once a puppet is fully realized. In order to identify these connections, a test was developed in which participants were asked to use a set of blank puppet heads/bodies and a variety of facial features to each build a unique character and then provide their puppets with a unique character voice. The data collected from the test was then deconstructed and analyzed by comparing each included design element to specific Estill Voice Training™ vocal attributes identified within each individual puppet character’s voice to find where connections occurred. The goal of this thesis is to provide a systematic method for creating vibrant and rich original puppet characters. iii ACKNOWLEDGMENTS First I would like to thank my Thesis Chair, Dr. Steven R. Chicurel. I will always cherish his guidance and patience throughout this process. Along with Dr. Steve, I would like to thank the two other members of my committee, Tara Snyder and Vandy Wood. Their insight and contribution has highly impacted the contents of this paper. I also need to thank Pasha Romanowski for his mentorship as a puppet builder. He has imparted a plethora of knowledge to me over the last few years. This paper would not exist without his willingness to share his knowledge of the craft. iv TABLE OF CONTENTS LIST OF FIGURES ....................................................................................................................... ix LIST OF TABLES .......................................................................................................................... x CHAPTER 1: INTRODUCTION ................................................................................................... 1 Finding the Question ................................................................................................................... 1 Statement of Purpose .................................................................................................................. 2 The Plan ...................................................................................................................................... 5 CHAPTER 2: VOICE ..................................................................................................................... 6 Puppet Voices ............................................................................................................................. 6 Voice-Over Cross-Over .............................................................................................................. 9 Estill Voice Training™ Background ......................................................................................... 14 Vocal Production .................................................................................................................. 15 Figures and Condition ........................................................................................................... 16 CHAPTER 3: CHARACTER ....................................................................................................... 19 Intro ........................................................................................................................................... 19 Leading Questions .................................................................................................................... 19 Archetypes ................................................................................................................................ 21 Attitude / Personality ................................................................................................................ 23 Imitation .................................................................................................................................... 24 v CHAPTER 4: DESIGN................................................................................................................. 27 Intro ........................................................................................................................................... 27 Character Design ....................................................................................................................... 28 Sketching................................................................................................................................... 29 Overall Shape ............................................................................................................................ 30 Head Shapes .............................................................................................................................. 31 Skin ........................................................................................................................................... 34 Features ..................................................................................................................................... 36 Eyes (Pupils, Lids, Bags, and Brows) ................................................................................... 36 Nose ...................................................................................................................................... 39 Mouth .................................................................................................................................... 40 Ears ....................................................................................................................................... 42 Hair ....................................................................................................................................... 43 Overall Layout ...................................................................................................................... 44 Everything Below the Neck ...................................................................................................... 47 Accessories ............................................................................................................................... 47 CHAPTER 5: THE TEST ............................................................................................................. 48 The Plan .................................................................................................................................... 48 Trial Run ................................................................................................................................... 50 vi Preparation for the Case Study ................................................................................................. 52 Paperwork and Logistics ....................................................................................................... 52 Sampling ............................................................................................................................... 54 Video/Audio Recording ........................................................................................................ 54 The Case Study ......................................................................................................................... 55 Quantification and Synthesis of Data ....................................................................................... 56 Analysis and Findings Summary .............................................................................................. 58 Head Shape / Color and Vocal Choices/Personality Traits .................................................. 59 Eyes and Vocal Choices/Personality Traits .......................................................................... 60 Hairstyle ................................................................................................................................ 62 Noses ....................................................................................................................................
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