Unima Aus Tralia Dec' 1995

INTERNATIONALPUPPETRY ORGANISATION UNIMA AUS_TRALIA DEC' 1995

PRESIDENT: Jennifer Davidson 62 YorkStreet Sandy Bay TAS 7005 tel: (002)23-6546

SECRETARY: Dennis Murphy 79 BinalongRoad Old Toongabbie NSW 2146 tel: (02) 631-0613

TREASURERGarryFuhrmeister 28 Arkose Street Eight Mile Plains QLD4113 tel: (07) 341-5028

EDITOR Jenny Andersen ...... ,,J 99 Bent Street NorthcoteVIC 3070 _____J tel: (03) 9482-3292

TAPTOETHEATRE: Roland Robin in "HEMEL!" by Freek Neirynck and Daniel Billiet.

UNION INTERNATIONALE DE LA MARIONNETTE FOUNDED IN 1929.MEMBER OF m (UNESCO) 3. SECRETARY'S REPORT l've taken a break froma flea circus tour of rural Victoria to have a short weekend in Melbourne EDITORIAL to meet with our UNIMA editorial team and fonnulate the Subscription Renewal Form you find enclosed. The Form is our way of building up a profile of our members so please take the time to fill it This issue was originally intended to be a Variety special but, as you will see, there are only a few out and postit in with your cheque. articles about Variety performance. There are several reasons for this, the main one being that Vari�ty performers are by nature busy,hard-to-get-hold-of people. If anyone would like to broaden our collective We have a new Treasurer: Richard Hartwas the sole nominee. He'll take over boththe finances knowledge on the issue in later magazine editions, please do. and the computer file. I first met Richard at the 1979 Puppet Festival in Hobart and later had the Thankyou to everyone who responded to the letter about French nuclear testing in the Pa�ific. A privilege of being involved in his Angler Fish Ballet. Welcome, Richard. Our thanks to Gany for his letter has been drafted to the French and Australian governments, and will be sent soon, along with the work as treasurer. the one you saw for other UNIMA Centres. There was an overwhelmingly positive and thoughtful As UNIMA Secretary I applied to theAustralia Council for partial funding of thecosts involved response to this action, as being an important symbolic gesture to make, and one that it is in the spirit of in my representing Australia at the International UNIMA Congress next year in Budapest. I'm afraid I the UNIMA statutes. As soonas we get this issue to the printers, I will be starting rehearsals for There's a Moon in didn't have time to do any lobbying but I did send an itinerary. As far as I know no one from the Council my Room, with Denise Rundle and Kym Tonkin (Duck & Co. with ONE TOE). We will be performing this came to a performance. In October came word that the application was unsuccessful. No specific reason play for 3-1o year olds at the Adelaide Fringe, in the Banana Room, in the old East End Markets (24th Feb was given forthe decision. The amount involved came to approximately one half of one per cent of the - 3rd March, 5.30pm). Because I'll be in Adelaide for a month,Richard Hart and Jennie Pfeiffer have total moneyallocated to Puppetry. generously offered to produce the March UNIMA Magazine. To help them, could contributors please send On to happier event of a more personal nature. I got a lovely compliment on my birthday, of all articlesto me as soon as possible for this issue. days. A woman was hurrying to leave just aftermy pre-school show but stopped long enough to quickly I have received some information about South Africa UNIMA which will be published in the next newsletter. We now exchange information regularly with UNIMA centres in Britain, New Zealand, Japan, say, "I really enjoyed your show. In fact, I laughed so much my water broke!" Having once worked in an U.S.A. and South Africa. emergencyroom, I remained calm. I even had the presence of mind to ask her if I could quote her in my We have been unable to agree on a name for the magazine, so please keep those suggestions publicity. rollin' on in. One year's free subscription, folks! Well, I must be off, back to �e wilds of rural Victoria to exhibit fleas and channel Lady Welcome to all the new members; ex-MANIPULATION subscribers, and others. If we get 100 Hortense. I close with a quote from Sigmund Freud who once wrote, "The most favourable condition for members by nextJune, we can have two voting members at Budapest! Thankyou to all the contributors to comic pleasure is a generally happy disposition in which one is in the mood for laughter. In happy toxic the magazine, and to Richard, Jennie and Kym for constant help. Best wishes to everyone for a happy festive season. states almost everything seems comic". Jenny Wishing you many happy toxic states in 1996. Dennis

'llgff%51 '96 '13'll'lJ!Jln:5'I'llPJJ!Jl'l!E I have looked into airfares at the Flight Centre which has offices in all state capitals. To negotiate a special price PUPPETS '96 UPDATE with an airline, we would have needed at least ten people leaving on the same flight. The following fares are based on 3 to 4 people who may leave andreturn independently of each other: Puppets '96 has receiveda $40 000 grant from arrangements with the conference carrier. KLM into Amsterdam. This will suit those wanting to go to the "MicroFestival" in Dordrecht, Holland. Festivals Australia towards the costs of the Accommodation choices will cover top end to Approx $2060return. Festival.The funding is for public performances budget, however for those who can arrange LUFIBANSA into Frankfurt. This means a change of planes in Bangkok and offers free stop-overs in and community workshops conducted by themselves into small groups of 4 or 6, many of both directions in either Bali,Bangkok or Hong Kong. Approx $2050 return. Australian artists. As we go to press, we have the mid range unit offerings will provide a higher Both include two further flightswithin Europe, e.g: Frankfurt-Budapest and Budapest-Frankfurt.Book by found out that we did not receive any of the $75 standard at the budget price. Air travel is available late February. 000 requested from Arts Queensland. into Maroochydore although the number of flights Those going on to the "Puppet In My Pocket Festival" in Sarospatak, Hungarycan catch a trainthere from Unfortunately we were also unsuccessful in our is very limited. An alternative to consider is transit Budapest. Hungary is so small that there are no internal flights. Sarospatak is 254 km Northeast of Budapest and via Brisbane. There is a coach service from application to the performing Arts Board of the very conveniently located in the famous Tokay wine region. Australia Council for assistance towards the Brisbane City and Airport to Noosa six times daily * * * * * * which is currently $18. The trip is approximately 3 conference and master class programme. This will The address forthe Festival andCongress is: mean full cost recovery and greater underwriting hours. for this aspect of the festival. The committee of There has been quite a lot of interest Namzetkozi Babmuvesz Szovetseg, Magyar Kozpontja, 1062 BUDAPESTVI, Andrassy ut 69. Hungary. mamagement will be meeting with Festivals from across the Tasman. Two UNIMA members Dennis Australia and the board to decide on contingeny have been in touch to say that they have plans for the festival in the next few days. obtained grants from Creative New Zealand to We have also received confirmation that attend the Festival. A number of others have Roman Paska is available to teach master classes indicated that they are coming anyway. at the festival. His visit was initiated by Peter Lia"! TannE:r, writer of Desires and Heroes by Terrapin Puppet Theatre has Wilson of Spare Parts and will be a joint For further information about Puppets received funding from Arts Tasmania to accompany Terrapin at the UNIMA Festival in arrangement with Spare Parts in W.A. We plan to '96 contact the office by telephone (074) 74 Bud�pest, to further her professional development in writing for puppetry. She is mail out Master Class enrolment forms as part of a 8188, Fax (074) 74 9378, or post E.T.C. looking for a place to stay there, so if anyone has any contacts for possible billets or Conference and Master Class Registration flyer in Company Inc., PO Box 753, Noosa Heads, Old. o her cheap accommodation options, could they please contact Terrapin and help early February. 4567, Australia. � _ The Registration flyer will also provide Lian find somewhere to sleep in Hungary! (Terrapin can be contacted on -Ph: 002-23 accommodation booking options and airline travel 6843, or Post: 77 Salamanca Place, Hobart, TAS. 7000) 3. SECRETARY'S REPORT l've taken a break froma flea circus tour of rural Victoria to have a short weekend in Melbourne EDITORIAL to meet with our UNIMA editorial team and fonnulate the Subscription Renewal Form you find enclosed. The Form is our way of building up a profile of our members so please take the time to fill it This issue was originally intended to be a Variety special but, as you will see, there are only a few out and postit in with your cheque. articles about Variety performance. There are several reasons for this, the main one being that Vari�ty performers are by nature busy,hard-to-get-hold-of people. If anyone would like to broaden our collective We have a new Treasurer: Richard Hartwas the sole nominee. He'll take over boththe finances knowledge on the issue in later magazine editions, please do. and the computer file. I first met Richard at the 1979 Puppet Festival in Hobart and later had the Thankyou to everyone who responded to the letter about French nuclear testing in the Pa�ific. A privilege of being involved in his Angler Fish Ballet. Welcome, Richard. Our thanks to Gany for his letter has been drafted to the French and Australian governments, and will be sent soon, along with the work as treasurer. the one you saw for other UNIMA Centres. There was an overwhelmingly positive and thoughtful As UNIMA Secretary I applied to theAustralia Council for partial funding of thecosts involved response to this action, as being an important symbolic gesture to make, and one that it is in the spirit of in my representing Australia at the International UNIMA Congress next year in Budapest. I'm afraid I the UNIMA statutes. As soonas we get this issue to the printers, I will be starting rehearsals for There's a Moon in didn't have time to do any lobbying but I did send an itinerary. As far as I know no one from the Council my Room, with Denise Rundle and Kym Tonkin (Duck & Co. with ONE TOE). We will be performing this came to a performance. In October came word that the application was unsuccessful. No specific reason play for 3-1o year olds at the Adelaide Fringe, in the Banana Room, in the old East End Markets (24th Feb was given forthe decision. The amount involved came to approximately one half of one per cent of the - 3rd March, 5.30pm). Because I'll be in Adelaide for a month,Richard Hart and Jennie Pfeiffer have total moneyallocated to Puppetry. generously offered to produce the March UNIMA Magazine. To help them, could contributors please send On to happier event of a more personal nature. I got a lovely compliment on my birthday, of all articlesto me as soon as possible for this issue. days. A woman was hurrying to leave just aftermy pre-school show but stopped long enough to quickly I have received some information about South Africa UNIMA which will be published in the next newsletter. We now exchange information regularly with UNIMA centres in Britain, New Zealand, Japan, say, "I really enjoyed your show. In fact, I laughed so much my water broke!" Having once worked in an U.S.A. and South Africa. emergencyroom, I remained calm. I even had the presence of mind to ask her if I could quote her in my We have been unable to agree on a name for the magazine, so please keep those suggestions publicity. rollin' on in. One year's free subscription, folks! Well, I must be off, back to �e wilds of rural Victoria to exhibit fleas and channel Lady Welcome to all the new members; ex-MANIPULATION subscribers, and others. If we get 100 Hortense. I close with a quote from Sigmund Freud who once wrote, "The most favourable condition for members by nextJune, we can have two voting members at Budapest! Thankyou to all the contributors to comic pleasure is a generally happy disposition in which one is in the mood for laughter. In happy toxic the magazine, and to Richard, Jennie and Kym for constant help. Best wishes to everyone for a happy festive season. states almost everything seems comic". Jenny Wishing you many happy toxic states in 1996. Dennis

OVERSEASFESTIVALS DIGEST: EppelbornerFigurentheatre -tage, Eppelborn, Gennany 8A/245 Chalmers Street, REDFERN NSW 2016, AUSTRALIA MARCH '96 15-19 VII TEL: 61(Ol2319 0718 FAX: 61 (012 698 3557 23-30 8th Gernsbachewr Puppentheatrewoche, Gernbach, Germany Ei\1AIL: [email protected] MAY'96 19/5-1/6 Theatrein a Satchel Festival, Lomza, Poland 3-5 Pupparium Spectaulum, Huergenwald, Germany JUNE '96 6-9 Puppeteers of America Regional Festival, Ontario 6-10 GalaIntemationala A Recitalurilor, Romania Animation Film Festi- Community Project National Youth Arts 12-16 International Micro Festival, small international puppet theatregroups, val: 10-14Jul '96. Zagreb, Director: The ETC Co. is Conference: 27-29 Sep'96 Holland Croatia. A competitive seeking a director for the Perth, WA. Theme: 'Steps Dordrecht, festival open to works Plzen, Nationalcompetition forchildren aged 7-10 years, Pilzen, Puppets'96 community into Asia'. Contact the 13-21 Sln1pova produced on filmor video in programme. 10 weeks full steering committee with Czech Republic the past 2 years. Running time fromearly Mar '96, to expressions of interest to ** 23-30 InternationalUNIMA Congress andFestival, Budapest time 30 mins or less. supervise a puppetry perform. TBA: Next Wave, Dance & Puppet Festival, Prague Deadline- I /2/96. building project, parade & 25/6-4/7 BuskersFare, New York performance piece. Adelaide Festival: 1-17 **30 May to 9 June Festival of Puppetryand Visual Theatre, Noosa** Royal Golden Jubilee, Mar '96. Includes forPuppetry Arts Summer Festival in conjunction Thailand: Handspan will be Zoe Atkinson is studying Handspring Puppet Co.(Sth **3 June to 31 August, Centre performingat the USA** with Drak designer Petr Africa). with Atlanta Cultural Olympiad, International Puppet Matacek & the dept. of Sarospat� Hungary JULY '96 1-5 Puppet in My Pocket, soloists & small companies, Festival. design in the puppetry Funny Business: 23 Feb-17 5-14 Semaine Mondiale de la Marionette, Jonquiere, Quebec facultyof the Prague Mar '96. A new 21-28 Figeuro solo, Gent, Belgium Community Artists: The Academy of Performing Arts. international comedy CCDB of the Australia Internacional de Titieres, Mexico City She also visited the festival which will operate 26-4/8 Festival Council is seeking National festivalof amateurcompanies, Prague Norwegian Puppet Theatre under the Fringe Festival TBA Loutkarska Chrudim, expressions of interest from Theatre Workshop. umbrella forthe 1st year. AUG. '96 17-25 Festival of Traditional Glove Puppetry, Italy artists to work in Expr�ssions of interest to 18-27 Arrivano da1 Mare Int'l Puppet Festival, Italy regional /remote comm director Gareth Lott. 27-4/9 Festival Du Pare Pasteur, Orleans, France unities with projects up to More Bread and Circuses: A guide to seeking Contact ITI for information PIF Int'l Puppet Festival, Zagreb, Croatia 12 months duration, in 30-4/9 WA, NT, & far Nth QLD. European funding. on any of the above. SEP. '96 5-8 Baden Figura TheatreFestival, Baden, Switzerland 9-20 BottroperMarchentage, Bottrop, Germany 28-4/10 RencontreInternationale, Performnces, workshops, debates etc, Charleville, France OCT. '96 1-8 The Golden Dolphin Int'lPuppet Festival, New formsand modern achievements in thedevelopment of thepuppet art (held once every 3 years), Varna, Bulgaria 10-20 Third Int'l Puppet Festival, Lahore, Pakistan 22-27 18th InternationalePuppentage, Mistelbach, Austria PHILIPPE GENTY PRODUCTION TOUR DATES 23-2/12 Visions 96, festival of internatioanlanimated theatre, Brighton, UK NOV. '96 23/11-2/12 14thFestival Internacional de Marionetas, Tolosa,Spain This production has been a colloboration between the Philippe Genty company and the Adelaide Festival Centre Trust. Five Australian performers were chosen to devise and perform in the show. For details on any of the above, write to the Secretary Jan 29 - Feb 10: ADELAIDE - Adelaide Festival Centre Playhouse Feb 14 - Feb 24: PERTH - His Majesty's Theatre Feb 27 - Feb 28: KALGOORLIE - Goldfields ArtsCentre Mar 1 - Mar 2: SUNBURY - Sunbury Entertainment Centre TRY, FRA CE Mar 5: WHYALLA Mar?: PORT PIRIE The school is advertising for its 1996-1999 full-time course, starting in May 1996. The Mar 9: RENMARK course covers various manipulation techniques, building and general theatre arts Mar 13 - Mar16: HOBART - Theatre Royal (mask, acting, comedy, scriptwriting, history etc.) Students will work with visiting Mar 20 - Apr 6: MELBOURNE - Victorian Arts Centre Playhouse practitioners as well as the lnstitute's teachers. Candidates for the course must be Apr 12 - Apr 13: BALLARA T - Her Majesty's Theatre between 18 and 26 years of age, and be able to speak some French. Entries close Apr 16 - May 11: SYDNEY - Footbridge Theatre 29th February 1996. May 14 - May 18: CANBERRA - Canberra Theatre Centre Ed: It sounds like a very full and exciting course, which I can't do justice to here, May 21 - May 25: MELBOURNE - Alexander Theatre, Monash Uni. but if an one would like a co of the brochure and ent form, lease let me know. May 28 - May 29: GEELONG - Ford Theatre. June 18 - June 22: BRISBANE - Lyric Theatre, OLD Performing Arts Trust. 5. 4. INTERNATIONALNEWS

The Australia Puppetry Guild held their Puppeteers' Picnic at Darling Harbour presenting two NSW NEWS Guild-devised shows. It is the first time the Guild members have ever worked together as a group to First from Sue Wallace ... mount a production. They rehearsed every week and presented a very good first effort. They will now build on that over the next year. WHAT HAS BEEN SEEN IN SYDNEY.- Impressions. Grasshopper and Lynda Buxton returned from a marathon 3 and a half month tour of the North ALMOST A DINOSAUR - by Polyglot Puppet Theatre performed to packed houses at the Opera House and West. Theyeach clocked up 22,000km: The equivalent of a returnflight to London as the crow flies. for a week in September. As I walked along the forecourt of the Opera House two young boys bounded past yelling "I can smell dinosaurs!!!" You couldn't wish for a better anticipation factor. These children were They flew out to a couple remote areas: Lynda flew into Useless Loop. Many of Grassie's performances determined to enjoy themselves and the show lived up to their expectations. were presented in 39 degree heat under the school tree. He has this year performed in every state and On first appearance the set was dwarfed on the Playhouse stage but once the performance tenitory of Australia. started the action drew you into the world of Rosi the dinosaur. The three puppeteers - Sarah Young, Stephan Friedrich and Darren Carmichael worked very well in ensemble with strong performances from all. It seemed obvious that this show had been performed many times. It had the flavour of a performers' piece where there had been the opportunity for the puppeteers to play with the action in response to their audience - and it was still fresh.

PIERROT AND COLUMBINE - by Theatre of Image at the Wharf, Sydney Theatre Co. Sep 15 - Oct 7. This isa play for children - a drama augmented by puppetry. The puppets were not strictly shadow puppets - more silhouettes that were lit from behind and played against a backdrop. Designed by Kim Carpenter and made by Gareth Frost, the puppets were manipulated in a fairly rough-house style that suited this charming production. The puppetry lent a good change of scale to the action and was a very effective vehicle for showing a journey undertakenby the characters.

SYDNEY PUPPET THEATRE NEWS We have a new show performing at the Puppet Cottage - THINGS WITH WINGS - a simple story of a caterpillar whose primary concernsin life are eating and flying. The eating side of things isn't so easy; the flowers are determined to protect their leaves which have taken days to grow. Ever hopeful of flying, the caterpillar keeps trying and crashing. Eventually, tired and hungry, it falls asleep. Covered with a silk sheet, it has three dreams: all about things with wings - a pterodactyl, a dragon and a fairy. These images are created with many styles of puppets; shadows, marionettes, rod and hand. Finally, of course, a butterfly emerges from under the sheet. We set out to create a lyrical piece. This is a risk in an environment like the Puppet Cottage where you don't have the advantages of a darkened theatre and lights. We are very pleased with the results. THINGSWITHWINGS was written by Sue Wallace, music compositionsand recording by Steve Coupe, set & puppet construction by Steve & Sue.

Sue was asked to join Kim Carpenter at the Australian Opera for a one week workshop of a new opera for children called GRANDMA'S SHOES. The workshop was a huge success and it promises to be a very s ecial roduction. Puppet Co�tage Festival, Sept. •�s. From_ left-Dennis Murphy, Sally McNally* (nee Bustle), & her husband, Sue Wallace, Richard Bradshaw (standing), Bill & Joan Jackson. (*Sally performed with her parents in Australia in the SO's Steve Coupe, (via the magic of video and special effects) will appear as Blackbeard the Pirate in a mirror in or 60's. The Bustles were English puppeteers.) his cabin at the National Maritime Museum, Sydney.

Sue is currently co-ordinating a launch of A WINDOW IN HEAVEN, the latest CD release by the Cafe at the Gate of Salvation.The launch 9&10 Dec will feature visuals desi ned b Sue. Prof Tilakasiri fromthe University of Sri Lanka visited Australiain October. He is the author of "Puppet Theatreof Asia" and "Puppetry in Sri Lanka". Prof Tilakasiri is a retir� San�t scholar whose WHAT WON'T BE SEEN IN NSW interest in Puppetry dated back to his study of the tenn sutra-dhara, mearung stnng holder. He has To my knowledge, the Australia Council did not provide funding for any puppetry projects or research or produced modem puppet shows that toured internationally and now serves on the Arts Council of Sri masterclasses in NSW in their last funding rounds. This included a rejection of a request for $865 to have Lanka working to preserve Sri Lanka's traditionalPuppetry. Noriko Nishimoto take a masterclass with 12 professional puppeteers who usually work solo or in duos. We Also in Sydney is traditional Thai rod pupeteer, Pasakorn Intoo-Marn, who is studying for his will fund Noriko's fares etc ourselves. I feel this rejection indicates a lack of respect for the individual working performer and a lack of support for training. Each year when we hold these workshops we Masters degree in Theatre Studies with Dr Williams at the University of NSW. He hopes to eventually encourage young performers to come. There is no other training like this on offer in NSW. teach drama and theatre back in Thailand and form a traditional rod puppet troupe to tour religious festivals. Pas learnedpuppetry fromChusri Skulkaew who began learning from herfather when she was 8. She is now in her eighties. WHAT'S ON in the holidays: And now fromDenms Murphy ... The Rocks Puppet Cottage, Kendal Lane, TheRocks: Weekends: Sydney Pupet Theatre Tue Rocks Puppet Cottage Festival opened the last school holidays and.there were two outdoor 18 to 22 December: Harlequin's Puppet Theatre venues and two indoor. OZO Puppets did a shadow show. Though I only got to see a bit of it, it looked 26 to 29 December: Murphy's Law of Puppets very cinematic with a large screen flanked by each side by smaller screens. Michael Cohen was a 1 to 5 January: Allenby's FAMOUS Flea Circus sensation but it's hardto describe his act. He works inside a lycra bag and with two masks and a puppet FairfieldCity Fann, Darling Street,Abbotsbury: presents a lot of images from a large face walking around to a standing emu that suddenly materialises 8 to 14 January: Allenby's FAMOUS Flea Circus froma struggling lump of material. 22 to 28 January: Jungle Bob's Wild Animal Puppets o.I 7

7 GENTLE WRIST STRETCH at a time, while keeping your other fingers A SIMPLE STRING PUPPET With the elbows straight out to the sides and straight. (You may use your other hand to hold s parallel to the floor with fingers up, place the remaining fingers straight in order to get forearm MATERIALS Knot the weights into the ARM the heel of the right hand in the pad of the left started but soon this will be unnecessary). 4. 5. ----• fabric on each comer. S"TTI.IN� hand. Press and release slowly for a count of Repeat with the other hand. Styrene ball Weights can be nuts from eight. Repeat with your other wrist. Soft Fabric 700 x 500 bolts, lead or pebbles. 10. FINGER AND THUMB ARTICULATION (size can vary in proportion) 8. FOUR FINGER STRETCH Inscribe an imaginary figure with each finger and Wood 1 x .220 1 X .150 Using the same position as above, place the right thumb. Repeat eight times. Keep your other hand around the fingers of the left and press fingers still as you work each finger. Dowell 1 x .080, tapered at back, hypothetically trying to bend the fingers one end 11. HORIZONTAL ISOLATION String or linen thread ARM back towards your forearm. (Don't overdo it!) 4 weights ---➔ Press gently for a count of eight. Shake your MOVEMENT 2 drawing pins STRIN(f hands out after this exercise. Relax your hands. Starting with each hand in a flat (pallet) position Wood alue separate each index and middle finger from the 9, SECOND JOINT FINGER-BENDS ring and little finger then close.Separate each Hold your left hand palm down, fingers stretched Drill a hole through the long little finger and index finger from the ring and I. arm of the control near the and held together. While holding three fingers middle finger and close. Alternate eight times end for the arm string. and thumb straight, bend your smallest finger at each. the second joint from your fingernail. Return it to (From Movement in Puppetry Performance by The arm 'through string' the flat position. Repeat this with each finger one Nikki Tilroe) enables the manipulator to raise either one puppet armor both by pulling on one side ------� only. 500i' Pin head-strings to each side of head with drawing pins then tie to control. Thread arm string through hole in control. Then tie the j ends to the two top corners ◄-""---Soo---�► nextto the weights.The length of this string should allow Make a hole in the stryrene arms to just hang relaxed at 2. ball with the tapereddowell. the puppet's side. Place dowell inside centre 3. of fabric fold X. Push dowell For a nodding head movement and covering fabric firmly into add a nose to the head and a the hole in the ball. string from the nose end to the control next to the arm string hole. Length of strings is variable and depends on the height at which the puppet will be worked. Start by working the puppet while you stand on the floor. Hold the control at a comfortable height and string the puppet to stand with its feet on the floor.

... " with acknowledgment to Albert 'Roser.

There's a Moon in my Room .-.Denise Rundle, Kym Tonkin and Jenny Andersen we will be having a public launch of this show in early February. If you would like to come, please give Jenny a call on (03) 9482 3292 & we'll put you on the mailing list. Ed: The following instructions (from Jenny Davidson) for a simple string puppet, begins what I hope will be a regular section on puppet construction. I would like to include a mixture of easy designs and complicated ones for people with more advanced building skills. Any short hints about materials, tools etc. are also most welcome. HAND EHERCISES Part 2

... " with acknowledgment to Albert 'Roser.

each puppet type is known to Here we have an art presented in an appropriate TEXT OF PRESENTATION FOR THE SECOND INTERNATIONAL most movie-goers or form in which the sky is truly space. The show is likely to CONFERENCE ON CREATIVE THINKING, JULY 1995, MALTA television viewers - HAND, the limit. Here we have be repeated. Payment is by ANITA SINCLAIR ROD, STRING, SHADOW thinkers as habit ridden as in received for performance. PUPPETS, LARGE BODY any other field. These are the In July, 1995, delegates from ve,ydiverse professional areas and clearly different cultural backgrounds P U P P ETS , BLACK conventions and restrictions gathered to consider Creative Thinking; how it has been done, how it might be done. The venue, the THEATRE PUPPETRY. Have What conventions exist within which the puppet artist University of Malta in Msida, is home to the Edward de Bono Programme for the Design and not the puppetry crowd in puppetry? works. There are others; Development of Thinking. shown incredible versatility? It very much depends some imposed by the �s I mpuppeteer, no effectively obliged to. Not goals; from 'idea' to designer and controller, less than anyone else, only are our wildest dreams realisation. The artist must every mask maker and wearer notices his market. The free to be realised, but also, WORK to seek out an idea, puppeteer, no less often nothing less will be then WORK to put it to use. Where do new ideas than anyone else, can be established patterns and fail considered adequate. Without some form of come from in puppetry? subject to the "if it ain't broke, to come up something better. T h e pressure commitment to organization What are the don't fix it" mentality. Escaping from a known brought to bear on the artist and process, not even the opportunities, where "Everyone likes moppets***, (reliable) pattern in theatre in this world of vast and most inspired artist will see a are the pitfalls? lets do more moppets". The puppet show is a carries with it all the risk that it detailed communication to result. What areas of "Talking animals work; let's do piece of Theatre, and as must in every field. produce new, exciting, conservatism exist? Is more talking animals". Puppet such, must have a beginning T h e greatest stimulating and informative anything new possible? companies that have been and an end. The show will guarantee of success lies ways of looking at life can be In a world well rewarded by large, faithful take a controlled amount of with the creative artist's ability very great, very daunting, saturated with the wonderful, audiences by always dealing time. Puppets must have to identify appropriate goals very immobilizing. Were it not incredible works of the late with 'issues' or by always puppeteers; these may be and to recognize the for the robust egos involved Jim Henson and his peers, it presenting a theatrical concealed or revealed. difference between good and the disproportionate love may seem odd to turn our version of the latest popular Puppets must be designed, and useful creative thinking of the work, many artists attention to 'areas' of children's book are not likely then built. The performance targets and those which are might well give up and 'get a conservatism in puppetry. to rush at the opportunity to will have some content; this more likely to lead them proper job' as they have all The smallest children now are change their material. The will be communicated clearly. astray. Even if we truly been directed to do at some au fait with pigs that wear false puppetry script writer who all The audience will want to believe that every aspect of time in their careers by some eye-lashes, frogs that her life has written for physically see the action. The our work is worthy of creative more 'stable' soul. compere variety shows* and children, possibly won't even puppeteer will need to thinking, we can probably Since 'inspiration' is wooly worm/dogs that fly THINK of writing for adults; or, achieve what is asked of him agree that, with deadlines in commonly assigned to the through the air**. The having thought of it, will go physically. Some-one must operation, we cannot deal artist, not to mention marginal APPEARANCE, though not cold at the prospect and lose write or at least devise the with every item as a first insanity, sometimes even necessarily the NAME of interest soon after. show. The performance is priority. genius, it is easy to assume 11. 10.

Targeting ar eas tor listening to me and watching metres tall, a tiny ten cr eative thinking in me, I can hardly work out an centimetres, flat, round, glow puppetry. offering that will interest you. in the dark; portable, Puppeteers are not Some talks and some collapsible, even edible if like each other. performances suit all comers. need be! REVIEWS Consequently, it is not Some, not many. Having The audience is possible to lump puppetry made my best guess, I must targeted; the aim and content people together and happily now decide WHAT I have are targeted; now the describe the ways in which that might be useful to 'say' to designers can dig into vast Chuck mood, Ted E. Bear and Dauid Strassman they target their creative you; whether that 'saying' is quantities of artistic resource thinking. The best I can hope t h r o u g h speech, material, including that David Strassman is a ventriloquist. That is skillful and unobtrusive. He exploits the range of for here, is to indicate likely demonstration, slides, outside puppetry, to create to say, he is an illusionist, a stand-up comedian, a effects a mike can offer, while maintaining the places SOME puppeteers questioning or performing and perform a piece of living puppeteer...... and he doesn't move his lips. illusion that it is the puppet who is leaning forward might choose to direct with puppets in a way that art. Watching someone do all this at once is an to use it. This is emblematic of the entire show, creative energy. I can also might be new to you. (Ed: They can concentrate exhilerating and humbling experience. where Strassman's own stage persona is much identify what I would describe Anita ended up getting her on the working process that Strassman is performing at the Comedy less important than that of his puppets. He acts as misguided targeting. aud i e n c e to perform will bring their dreams and Club in Carlton, Melbourne doing both adult and more as a catalyst, guiding the conversation like a Puppeteers need improvised shadow and hand ideas to life! children's shows. I saw the adult show, starring skillful interviewer. He is planning to devise a new ideas for shows. 01 course! puppetry pieces, within clear (mostly) the very rude Chuck Wood and the very show which is more plot-centred, involving a more The frequency of need can parameters that she had set * The Muppet Show dim Ted E. Bear. Both are highly endearing in complex character for himself. It will be interesting be influenced by the policies down. They were a huge ** The Never-ending Story their own way. to see what new interactions with Chuck this of the company, say, to success, and demonstrated *** The term 'Muppet' After the audience had been warmed up results in. rehearse up a new show to the 'non-artistic' audience belongs to The Muppet by two good comedians (David O'Neil and Ted E. Bear is a much more simple every six months. What to that "they could and did Show. You will note that it is Christine Basil), Strassman and Chuck Wood puppet than Chuck, and therefore highlights how do? We all know we want to experience creative thinking fast becoming the word for appeared. Right from the start they played on the much successful ventriloquy relies on strong use puppets. This is the very as a playful activity and puppet. A moppet is a type of theatricality of their act with a series of characterization and manipulation. I am certain point at which targeting the puppetry as a medium for hand puppet. choreographed head 'snapshots'. It is this silly, that Ted's button eyes widened as he solemnly creative thinking will be the serious communication or **** At The Second playful touch which makes the show so nodded that yes, Chuck had indeed pushed him 'make or break' action. nonsense as required".) International Conference on enjoyable. out of a plane recently. Innocent, dumb Ted In Theatre, in Creative Thinking. Chuck is a standard wooden-boy provides the perfect foil for Chuck's deviant painting, in song-writing, the Note: ventriloquy doll who is uncomfortably aware that personality. The resulting three-way project can only ever be: the I wish to acknowledge that he is only a doll. To console himself, he spends a conversations are spontaneous and hilarious. i n t e n t i o n , the Effective puppetry some terms I have used are great deal of time making rude jokes and insulting After presenting three more minor communication, the thing that is effective derived from the works of Dr the audience, particularly 'Rick' who had been characters.who are relatively new to his you wish to SAY to your communication Edward de Bono, for example singled out previously by David O'Neil. Chuck is repertoire, Strassman 'conducted' three audience. Otherwise the 'Creative Thinking Targets' or fitted with a couple of delux-model details such as dinosaurs singing Queen's Bohemian Rhapsody game is lost before it begins. first. 'escaping from established glowing red eyes (for his Exorcist routine), and Initially the animatronics were a surprise, but they The first creative thinking patterns'. the ability to spit and vomit. These are used were not sufficiently refined to maintain this long target in puppetry must be sparingly, and to great effect. song on their own. The piece relied on the MESSAGE, IMAGE or Effective thinking in PUPPETEERS IN What really sets Chuck apart from other Strassman's skill as an illusionist to direct our COMMUNICATION GOAL. puppetry demands that the similar looking vent. dolls is that he plays with attention to the relevant figure, as sometimes it This will arise (after reflection) artists have something THE UNION voices himself. He has an inexhaustible gallery of was hard to tell which one was supposed to be from the ethics or morality of definite to say to someone for impersonations from Hollywood movies and singing. This section is probably very popular in the artists concerned.You whom the experience of In the coming months popular culture. These are thrown in seemingly the children's shows, which Strassman says he can be sure that every listening will be enjoyable, the Equity section of the ad-lib, to threaten, cajole or simply to raise a loves to perform. the atri ca I presentation stimulating or useful, maybe Media, Entertainment, and laugh. Fleeting and accurate local references Unfortunately, once the animatronics had reflects the view of the world all three! Arts Alliance Union will be were also successful. When a more obscure been revealed, Chuck's greatest moment was held by its creator, including Effective puppetry is holding focus groups to comment was missed by the audience, David and slightly weakened. After an argument, Strassman those views that are muddy or effective communication first. assess the specific needs of Chuck made an exaggerated routine out of jokes abandons him on stagewith the taunt that Chuck uncommunicative. The effective puppeteer will puppeteers, particularly those roaring past like cars, crickets chirping, and the is nothing without him. Although I expected actually ABANDON puppets working on their own individual audience's slowness. This demonstrated an Chuck to move by this stage, his 'HJependent Targeting the message, in favour of other shows. admirable commitment to the audience's routine was still funny, as Strassman manipulated image or story line of a communication techniques In March 1996 the engagement in the show. Strassman began his him from the wings with a remote control. This new show. the minute that some other union will conduct seminars for career busking, and performing in stand-up perhaps gave more scope for spontaneity, which This cannot be done medium promises to work puppeteers, to provide comedy venues in New York, where holding the would have been difficult with the without first targeting an better for the message or information about your rights, audience's attention is the foremost skill required choreographed, pre-programmed piece. audience. The easiest story. The adventurous and how the union can help of a performer.This shows - there is a momentum Strassman designs, partly builds, and maintains all example for me to use is the puppeteer will not often need If you would like more and spontanaeity to the 'improvisations' which his puppets. This direct design influence from the presentation 1 must do to do this! Puppetry is an information about these have been selected and polished from years of puppeteer is reflected in their realism and today.**** If I design my extraordinarymedium in that it events, please call Janet performing, mixed with truely new material. David economy of movement. Not that I was noticing presentation without first can be altered to fit almost Dalgleish or Daphne Stitt at the and his wife Tina (who also does the lights and this when the entire 'cast' joined in for a chaotic, making my best guess about every circumstance. Puppets Equity Office in Melbourne. sound) review the show each night, looking for daffy, boisterous finale. I was laughing too hard. who YOU will be, sitting and can be made that are three Ph: 03 9279 0500 new moments to keep in the show, and jokes It's a great night out. which have had their used-by date Strassman's microphone technique is Jenny Andersen 11. 13.

GILDA UNDER GLASS by GUYS WITH DOLLS Concept, design and puppets by Rod Primrose THE FLOATING WORLD Music by Hugh Wayland Puppeteers; John Rogers, Rod Primrose, Hugh Wayland. This production of the play by John Les Harding referred to the Japanese as Scenic art by Chris Mooney. Romeril by the Japanese Company Black Tent, "little people" and so all the Japanese on the in collaboration with the Japanese Puppet cruise ship were played by marionettes. The I was walking past Myer in Little Bourke St. Melbourne when I noticed some colourfulmovement through a Company Yuki-za was quite brilliant. It told the Japanese in the nightmares of Les Harding from gap in a covered up shop window. It turned out to be an exquisite bunraku/rod style puppet about 40cm tall moving story of an Australian couple who were on a the war were also marionettes. delicately and rhythmically by the hands oftwo puppeteers. In a phone call that night I discovered the what and the Japanese cruise ship to Japan for a holiday. The marionettes were quite small - about However, the man, Les Harding, had been on the 18-20 inches I would say. The control bar was a when. Burma railway during the war and the connection wooden square with strings on all four sides. In \\'hatI saw the followingafternoon was a unique, skilfuland captivating piece ofpuppet theatre played from with the Japanese on the ship brought back his the centre of the square were two rocking bars, inside the shop window to a small crowd on the footpath and street. wartime experiences to him. probably for the arms and legs. It was possible for The window theatre consisted of a tastefully painted proscenium complete with cherubs and miniature The acting was superb and I could hardly the puppeteer to put the puppet down quickly spotlights. The stage looked to be about 1.3 meters wide. Sound speakers were mounted outside the window a short take my eyes off the actors - and certainlynot off and pick it up again. The actor who operated a while beforethe performance commenced. The audience had the rare option of being able to view themselves as well the puppets. - to read the subtitles in English on puppet spoke for that puppet and was frequently as the theatre, due to the reflection, which added extra interest rather than a distraction. Despite the novelty, this the wall. I did discover that a quick read would fill in dressed like the puppet character. The actor seemed oddly expected ofMyer given the historyofits Christmas displays in Bourke St. my understanding for quite some time and I soon sometimes quickly took on the puppet's role. For The music starts, building up the expectation with a slightly circus/surreal flavour and John Rogers entered relaxed into the play and subtitles. example, in one scene Les Harding kicked the with a very eccentric look on his face,using a tiny bunch offlowers to sweep the stage. Synchronisation of action and puppet steward, the puppet fell on the floor and sound effectswas very tight here and throughout the performance. I'm assuming it was all pre-recorded sound but in the puppeteer exchanged a few blows with the some spots it had me guessing. The music was excellent, weaving the atmosphere and carrying the plot very well. Australian.Then the puppet was picked up again Soon afterJohn's entrance Rod Primrose appeared looking just as eccentric, holding a male doll's head. John and the puppet left, bowing his apology. In brought on a beautiful little lounge chair and the two started to play with the objects like not so innocent children. another scene the puppeteer came on stage This particular segment could be shortened a little, or more interesting things could be happening between the two carrying plates in each hand with the puppet objects, but this period ofdisengagement was never total or for long, probably due to the music. All performers used around his neck! The plates were put onto the table and the puppet then took over. I felt that all very entertaining and appropriate facialexpressions through to the end. this made for very fast action and at no time did What really worked for me with this production was the skilful way the performers interacted \vith the the puppets slow the pace of the production. puppets and objects. They started a game as characters with toys and the game soon took on its own life, pushing Some puppet characters were seen only them, (the puppeteers), into the roles ofcaptive observers, co-players with the puppet character or adoring fansat the once - such as the entertainers on ship, the end. When they were clearly visible, it was more ofa sense ofthem watching the puppet character with the audience, musician, the dancing dragon, and the trick rather than controlling what's happening. marionettes in the scene where Les Harding The background, throughout the performance was plain black, with various evocative and interesting sets attacks his nightmare Japanese soldiers with a gliding in and out of a gently defined light corridor. The use ofdifferent light colours worked well to enhance moods knife and cuts to piecesin different ways four trick and atmospheres. The puppeteers wore black with head and hands exposed. marionettes. However some puppet characters, So, now we get down to the real star of the piece and that's the 40cm tall puppet I'd seen rehearsing such as the steward on ship had real character, through the gap; Gilda. Yes, Gilda is a drag queen, that much is pretty clear, flamboyantly dressed, a number of personality and depth. differentcostumes and should do well as a nightclub singer. Gilda started offas a not so innocent man, entering from It was a delightful performance. The only what could have been the gates of hell or a prison, wearing only a tea-chest. He is seduced by our two puppeteers show I could get to didn't start until 9pm on a into dressing up in gorgeous gowns and the rest is history. Thursday and finished at 12! Not good for work This puppet is beautifully manipulated by Rod and Roger. Subtlety, attention to detail, good movements and the next day. I had made up my mind to leave at co-ordination were all there. My only criticism would be that near the end of the songs, despite the wonderful interval but I couldn't! This speaks for itself! by Lorrie Gardner portrayal of a night-club singer's movements, the puppet reaches its limit of interest with that activity and my (Gardner Puppets) attention wandered. Maybe there could be a bit more variety or the songs could be shortened a little. The design of the piece is very strong with some delightfulimages and beautifully made objects. Eg-. A grand piano flies with the aid of small balloons and in an extraordinary sequence a white clad Gilda (?) floats/dances in real water, (a disguised fish tank). As for what the piece was really all about left me guessing. Roger mentioned after the performance that it could do with a synopsis, as in a theatre program, for people to read. I tend to agree, it would give the whole experience more meaning to me than only mysteriously visual and musical. Despite this, the audience stayed captivated forthe 20 minutes it lasted, distracted only by the occasional threat ofbeing run over by passing cars. If "GILDA UNDER GLASS" or its non-street theatre version has a season again, it is definitely worth seeing. It will gladden the heart ofmany a puppeteer. by Richard Hart

Gilda Under Glass I 5.

Gilda Under Glass fl

REVIEW NOT THE END OF THE WORLD written account by Ray DaSilva S i m i I a r I y the of Tozer's life, especially as it perfomance of an acrobat on a Not the End ofthe World is a re-staged version of a puppet play originally written by Victoria Osborne. It is a Polyglot relates to his puppet work. So hoop is given in full detail, with Puppet Theatre production and this version was directed by Janet Dalgleish. It was performed by Craig Gillespie, Denise BOOK many puppet books leave you 30 sketches of the actual Rundle and Paul Doogood. Essentially it is piece about conservation of the environment and it has toured South REUIEWS wanting to know more about sequence along with stringing Australia this year as part of a For Schools programme. the puppeteer's life, but here and construction minutiae. curiosity is satisfied! There is Having been asked to present a review of this work I had a long think about how I was going to do it. So I asked my There is information The Marionettes of even a recent photo of Tozer on stages including an daughter, Jhana, to collaborate in writing this review as I think that her comments might be pertinent. All the news isn't on the cover. elegantly simple Punch booth good, but I hope you take these comments as the constructive criticisms they are intended to be. Barcelona - Harry Tozer's repertoire was and a double-bridge I am 11 years of age. I do well at school but even I found the performance difficultto understand. The age Tozer and his Tricks wide-ranging; a circus, Jack marionette stage which does group, I heard, was 7 to 13 yet some children there were only five and listening to an almost lecture about a kind of the Trade by Ray and the Beanstalk, St George not need great ceiling height. of cold war between the people and economy and the animals(some of which are extinct) and the green economy DaSilva, published by and the Dragon, a sombre (In the past I have benefited (environment). There were a pair of girls sitting near me and they couldn't stop talking and whispering to each Dasilva Books, 1995. ballet to Sibelius's Valse Triste, from referring to the hinging other. In other words, they were not engaged by the stage action. Montmatre Cemeterya ballet in plan Tozer used for a folding There seems to be a which the devil conjures up hand-puppet stage. That's It was performed in a modified booth that at firstglance didn't look very exciting. Considering how it was used and how renewed interest in skeletons of figures from the included here too.) the objects looked operating in it, it came up very well and I think it was very appropriate and effective. The opening was marionettes lately, and for seamy side of life, and the Buy this book and find delightful- three flies, bumble-bees or dragon flies- Does it matter? because they were totally mesmerising. Nothing like disturbing futuristic Robot out how Tozer avoided getting amateurs or professionals this Revolt. good opening!!... Except that it sets a standard that needs to be maintained for a good portion of the time. book is a must. If you work with There are sketches of the two boxers' controls some of the figures in the tangled with each other, how other kinds of puppets you will Robot Revolt On came string bags, who appeared to be a species of woodland creature and who were animating beautifully - until they still find useful ideas in this book, but unfortunately no the iron bar in photos. appearedto go from red-hot to started to speak in words. book. And even if your interest Jack in puppetry is a spectator's The technical section cold, how the giant from "Oh, whereart thou stringbag?"- Why call an interesting puppet made froma string bag,.. .'StringBag'? Why begins with marionette and the Beanstalkemptied the couldn't you have called them the echidnas or the wallabies'? Or Woofamagoofas. Why call a bar of soap a Bar of one the account of this man's life is interesting reading. construction and controls dish in one gulp, etc., etc.! Soap? Why couldn't they be called the butterflies? It brought the story out of the realm of a symbolic or allegorical (upright) then gives valuable (And in reading this book you order and into something that seemed far too literal. H.V. Tozer is a 92- year-old English marionettist information on how special might incidentally find a clue as effects were achieved to why letters written by puppets were an eclectic collection. The Tasmanian Tiger, a glove puppet that looked rather like a bull terrier, who has lived in Barcelona for The most of his life. Although not a together with descriptions of Tozer's father in Paraguay are seemed unwieldy and for one reason or another had quite a limited range. The hamburgers worked forme because they professional showman he has acts and scenarios given in in the Mitchell Library in anthropomorphologised unselfconsciously. The characterisations were clever. I foundrelating to Bulldozer and Chainsaw been a respected and d etai I. With characteristic Sydney!!!) more problematic - perhaps not person-like enough. Perhaps they could have had good old ocker names like Bazza and influential figure in puppetry generosity, which contrasts to The cost of this book Bluey. It's obvious that we can see what they are. I wanted to know more about who they are. I liked the idea of whose work is up there with the secrecy of the to Australian UNIMA members having hamburgers representing people, but ...the idea was spoiled when one of the animals, I think it was the the best. In more recent years marionettists of last century, is $39.48by air and insured, or Tasmanian tiger, referredto them as being-'Hamburgers' he has taught students in Tozer reveals all. $32.41 by surface. Send a The voices? We concur. Give us the earplugs. The voice of the Tasmanian tiger nearly made my ears drop off. Some Barcelona's Institute of The article on the cheque made out in Australian dollars to Ray DaSilva, DaSilva small words I could not understand because of the unbearably irritating high pitched tinge in the voice. For me, Theatre. performing seals act could be Ray DaSilva was one required reading for any Puppet Books, 63 Kennedy it's kindof an aesthetic thing. I prefer to see puppets relate through gesture and action. Not only that, but I have a puppeteer. We are led from R d , Bicester, particular pet hate about stupid voices for puppets. I have this naive idea that like any other theatre, that voices should be of many puppeteers who was inspired by Tozer's technical t h e f i rst unsatisfactory Oxfordshire.OX68BE, UK. appealing, easy to listen to and suit the character. Otherwise I am going to be instantly bored and I won't care what attempts through to the final PH/FAX 1869 245 793. (This happens to the character. But that's just me. Still, that voice must have been very hard to sustain and quite hard on the articles for the British journal The Puppet Master in the construction, with an is a new address.) throat and it's easy to do some permanent damage. rd be tempted to go back to your basic voice training and start from explanation of "why" and By Richard Bradshaw there to re-invent the character voices. 1950's. In 1990 he travelled to Spain to meet Tozer for the "how". Even the material of its I think that this show is perhaps trying to convey too much informationor information that is too complex. The body first time with the idea of writing skin, its problems and how it puppet with 3 human face masks in it called Greenback seemed to be giving sort of an overview of the way that the a book about him and his was attached, is discussed. capitalist system is economically driven in relation to the environment. Sorry - but I didn't really get it either. But it begs work, bringing together these This illustrated article occupies the question: Just who are the intended demographic and how sophisticated do their language skills need to be? Perhaps early well-illustrated technical eight pages. I compared it with it's necessary to targetit towards a more specificage group. My biggest criticism of the play is that I foundin it a articles. He has been able to a brief description of conceptual order that was confusing. Do you want it to be an allegory or the straight transmission of information?I think augment them with information performing marionette seals in that to answer that question is to go a long way towards working out how to achieve it. provided by Tozer, including another marionette manual I think that it could do with another serious re-write. I think that some very imaginative ideas died through a script that sketches of special stringing where a rather unhelpful was too literal. The objects themselves are a realistic enough representation. Children are imaginative and don't need schemes for certain puppets diagram makes me think the that Tozer made for his own author of that book was everything spelled out. It spoiled what might have been a good yam. However, the language was complicated in places drawing on his imagination and should be tailored around the expected skill level of your intended audience. Maybe you could conferwith some reference. The first quarter of the rather than experience! That's teachers about this. certainly not the case here. Overall, I say: kill the voices, simplify the story line(meaningthe ' big words' such as the economy, greenback), book is a lively and nicely think of some creative names for your creatures, but keep the stage as it is! I rate it Good, 5/10

Jhana Pfeifferand Jennie Pfeiffer fl

Jhana Pfeifferand Jennie Pfeiffer 19.

THE VARIETIES OF replied, "Our work is very similar to Murphys I TileHistory and Art of Ventriloquism Puppets!" This is the same guy that was caught Can See Your Lips Moving, VARIETY paying an 'apprentice' $20 per show and claims c } ·· Valentine Vox, Plato Publishing, Califomia, 1993 , by Dennis Murphy to have won awardsfor his Puppetty. He offet'� ( to match any other puppeteer's price and do }� · ·.· This book, first published in 1981, gives a detailed history of ventriloquism. The This issue looks at V ARlETY and as a flea minutes longer. Discount Puppetty - no{\ · · illustrations alone are worth the price of this new enlarged edition. Here is a fullreview of vent circus proprietor I couldn't be more pleased. I unethical, just desperate. · from shamanistic utterances through demon posession and eventually onto the stage. It covers see Variety as the 'public face' of Puppetty. But the problems go beyond just two vent dummy horror filmsand radio ventriloquism. You wouldn't believe how many people come desperados: too many non-puppeteers are using The book abounds in quotes from ancient texts and the Bible describing the ambiguous up to me after shows and say what a shame it is slapdash puppets to pad out their clo\vn or thatPuppetry seems to be dying out. groans that predicted the future. There are decriptions of the vent. acts from before this century magic act. The current fad for costume I have to explain that Puppetty is very charactershas meant thatshopping centres, once when vocal illusions and mimicry were the name of the game. Distant voice ventriloquism and much alive. It's just that it is not seen much by a rich source of employment for variety vocal sound effects made up the act without any need for props. It was a classy act and the public. The majority of puppeteers now are puppeteers, feature less Puppetty. Local dance included songs and recitations. working in Theatre-in-Education (TIE). School students are employed to bounce around Sometimes a screen would be used to mask the 'polyphonist' as he created a whole children are seeing lots of Puppetty but the disguised as Bugs Bunny dressed up as 'scene'. Samuel Honeyman in the 17th century was famous for imitating the sound of a calf general public is seeing far less. 'Children's Entertainment'. (How's that for a being dragged in and slaughtered by two butchers. He did the lot; the voices, the bleating, even In fact, Ann Davis fears thatPuppetty is soundbite?) the knives being sharpened. And when the screen was removed, he stood alone and without coming to be seen by children as just another I hate it when people compliment the props. school subject because school is the only place show with a surprised tone of voice. It means they see puppets anymore. It tends to be the In 1750 an Austrian, Baron von Mengen, embellished his act with a small doll figure their expectations were obviously very low. Variety Puppeteer who gets seen by thepublic. They were genuinely surprisedthat they enjoyed and became the first ventriloquist to blend ventriloquism and puppetry. But the innovation Variety and Outdoor Puppetry do not a puppet show. I don't think I'm being didn't catch on until the latter half of the 19th century. The use of' automatons' was opposed at appeal to every puppeteer, of course. It's a melodramaticin saying that Variety Puppettyis firston the grounds that they reduced ventriloquism to a side-show amusement. specialised art. I have seen TIE shows presented in peril. As figures gained in popularity the 'row' was introduced. Multiple figures were at Festivals but thewind blows the set over and If we can raise the public's expectations operated through various controls, wires and pneumatic devices. At the turn of the century the theTIE style of presentation just doesn't work in of what Puppetty can do, the mediocre single figure using near ventriloquism came into vogue. The resulting fast-paced double act that situation anyway. It calls for colour and puppeteers will eventually get less and less became the ventriloquism we now know - more visual and less vocal. TV close-up work later movement: VARIETY. work. This has already happened in the TIE made lip control crucial. With the tightening of the economy system so there'shope. We are lucky in Sydney that we still have a distant voice ventriloquist. Cecil Parkee, Marketing has become an all-important skill for Variety puppeteers looking for 'public' work. now in his seventies, performs both distant work and vocal illusions. He does a platoon being But when a puppeteer's marketing skills outstrip CABARET IN called to attention and marched offinto the distant. Just as their footstepsare about to go out of his/her Puppetty skills, it produces low quality earshot, you hear the order "Reverse March" and they troop back. Then there's 'George' up on shows. They get booked once on thestrength of MELBOURNE the roof calling for 'Fred' in the cellar to send a ladder. Cecil does the telephone voice and a their sales pitch but don't get return bookings. It While we're on the subject of variety, radio voice complete with static. It's amazing. turns venues offPuppetty altogether, making it Richard Hart and I are currently performing our "cabaret" puppet creation Grater Thing at impossible for other puppeteers to get work Getting back to the book, it contains the inevitable stories of people being unnerved by The Stage in Smith St, Fitzroy. It's a short ventriloquist's prank. Several heart attacks have been brought on over the years and vents have there later. piece which evolved from an Objectivity been charged with various crimes up to and including murder. The latter happened in 1810 to I have also seen, at least in Sydney, that workshop earlier this year. Since then we've Lee Sugg billed as 'Professor of Internal Elocution'. As a publicity stunt, he rushed into a this marketing-led Puppetty invariably leads to added a soundtrack and adapted the show odious business practices. As thepuppeteer gets to suit venues with poor sight lines and baker's with what seemed to be a crying baby. In an apparent rage, he threw the baby into the more and more desperate for work, ethics go audiences with other things in mind than the oven. He was acquitted of murder but was given a large finefor being a public nuisance. out the window. Undercutting the award rate is subtleties of visual theatre (ie: eating, I Can See Your Lips Moving is thorough, well-researched and has a very good how-to drinking, sex... ). only one problem; there are others. Ttiecurrent season is a mixed bag of section. This enlarged edition is a gem. Another book worth comparing with this one is I cite two recent examples; a puppeteer stand up comedy, puppetry and music. Australian Robert Ganthony's Practical Ventriloquism, being A Thoroughly Reliable Guide rang a shopping centre looking for a booking Johneen Keir, another Objectivity to the Art of Voice Throwing and Vocal Mimicry-by an entirely novel system of graded and was told "No, thanks. We always have The participant, will be performing her puppetry exercises.Published at the turn of the century it is an outrageous example of self-promotion in Murray Raine Puppets." The puppeteer then piece Just in Case on some nights and singing (as herself) on others. Objectivity which Ganthony not only points out the wrong way to do things, he even names his erring went on to denigrate Murray's show and reputation. It didn't work because the centres are is having a Christmas BBQ on Sun 17th Dec. competitors. His directions are hard to follow and I suspect they were probably meant to be so. If you'd like more details about any of these so loyal to Murray that they immediately rang Three paragraphs are used to apologise that 'you' and 'your' will be used in the text instead of events, ring me on 9482 3292. him and warned him about what was going on Kym Tonkin the more polite 'one places one's tongue'. It's a hoot. and who was doing it. Dennis Murphy Another puppeteer chasing work was Note: Objectivity is a group which originally told "No, thanks. We always have Murphys came together through some puppetry Puppets". To which the puppeteer cheerfully workshops with Noriko Nishimoto in Melbourne earlier this year. We have been meeting once a fortnight to develop skills and explore new ideas, and have had one small showin of our ro ress so far. 19.

CHIRAC IMPRISONED FOR ANIMATES MORAL OUTRAGE Animates is a new group in Western In 1892 a French pornographer by the name of Australia which brings together artists Chirac was sentenced to fifteen months in from all backgrounds who have an interest prison for "outrage a la morale publique". in puppetry. Animates aims to provide Theodore de Chirac was a writer who acted in information about puppetry and his own plays and died in 1906 during one of puppeteers, explore new ideas (especially his performances. in cross-artforms), to act as a lobby group This information comes from the preface, by Gilbert Sigaux, to a book Le Theatre erotique group for puppetry and to raise its du X!Xieme siecle. The book contains texts of general profile. humorous erotic plays performed by puppets in L 'Erotikon Theatron in Paris in 1862-3. (They After an initial fundraising are not exactly the kind of plays that would be performance night, Animates has formed chosen for schools touring ... unless the separate groups to tackle these goals. audience had a say in the matter.) (eg: a workshop-programme committee, a Although Chirac's plays were not for puppets, public relations committee, etc.). Everyone his Theatre Realiste of the 1890's is seen as a meets to report back to the whole group poor successor to the earlier one. In 1906 once every 2 months. Chirac was described as "a maniac of If you would like to become involved, pornography, scientifically sick". please call Ulli Keck on (09) 332 2071 or Any resemblance between this Chirac and any (09) 335 5044. other is, of course, probably coincidental.

Richard Bradshaw

UNIMA AUSTR LIA

IF UNDELIVERABLE: return to: 99 Bent st, Northcote, VIC. 3070