DOCSLIB.ORG

Puppets, Gods, and Brands

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Puppets, Gods, and Brands !"!!#$%&'()$#%)*$(+)*, issue no. 47 !"#$%&'$()!!"#$%&'()#*('+,-(!"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""!!!# !"#$%&'(!#$)%*+(,("-""#)!(&+.(!/&0#!"#&1# !"#$%&$'%()#$*+,-.#$!/0$1.#.2$345",+))$+)6$'%7.85$92.77.2!"""""""""""""""""""""""""""""""""""""""""""""!!!$ :.;#$$/0$<+=2.)4.$3=(#>?%!!"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""!&' ()*+,-.,*/,!01..,2,,/3!45*.2678!@.,8.7#$*75$A2.+,$!/0$B2.6$C"245+4?!""""""""""""""""""""""""""&# A2.+,$%&$*+,-.#$!/0$D05+)$*E-+FE!!""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""!&9 :;*2676<678=!()*+,-.,*/,!!/0$G+)".-$D)#%)(%$G%2H)$!"""""""""""""""""""""""""""""""""""""""""""""""""""""""""!&> 0,/?@/A678!()*+,-.,*/,!B62)!01..,2-!!/0$1+"-$I()4.)#$A+J(7$$"""""""""""""""""""""""""""""""""""""""""""!## C-678!01..,2-!67!D)#%)0$+)6$C-.%8+#2+!!/0$A+J(7$K%/()7%)!!""""""""""""""""""""""""""""""""""""""""""""""!#9 D1/*2678!()*+,-.,*/,!01..,2-!!/0$'")F,()$3%)F!!"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""!!#> 2%#3!(&+.(1#2%#3! E675678!F,A@!67!G6,27*A!!/0$C-+"6(+$!2.)7#.()!!""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""!H' I6!D16J-!5@K1A,72*/%!!&$35+6%=7$$/0$D))(.$LM$K%--()7!!"""""""""""""""""""""""""""""""""""""""""""""""""""""!H$ L)**21!M72,/7*26@7*N!01..,2/%!E,-26O*NP!M756*!!!2.J(.=$/0$C-+"6(+$!2.)7#.()!!"""""""""""""""""""""!H9 EM4Q(!#'&R!!2.J(.=$/0$D)62.=$1.2(+-.!!"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""!!H> :Q*+678!Q*/O,N-P=!412@A*2*!*2!S),!Q,2!!/0$C-+"6(+$!2.)7#.()!!"""""""""""""""""""""""""""""""""""""""!$' E,-26O*N!Q@756*NP!D)*/N,O6NN,TQU<6V/,-!!2.J(.=$/0$3#.J.$C+82+!!""""""""""""""""""""""""""""""""""""""""!!$$ C5(4+F%N7$G()(+#"2.$92+)6$!8.2+7!!/%%?$2.J(.=$/0$'%5)$O.--$!"""""""""""""""""""""""""""""""""""""""""""!$9 1"88.#7P$9%67$+)6$O2+)67!!/%%?$2.J(.=$/0$G.F5+)).$O+2?.2!!"""""""""""""""""""""""""""""""""""""""""""!$W !"#$%&'(")"*&!"#$%&'(&)$%*#++&,-(./&012.31&&45$$&'.3$&678& !"#$$%&'(!)*&%'*+&,-*+.$50$;$-,F:5!;(5#'$#*$?8GH/@?4/7$G'!D $G($50$-,F:50I&J$(C5!&$;$.&;)$K*;::$;'J$0-)5'6LD$$ G448$K+)5'(LM$1>2=@N=AN$$$$$G448$KO':5'&LM$PN=B@>2NQ /E&)5!;'$%&'(&)$#*$(I&$ $?8GO8$G8RST8/RGO8/US$J&$:;$H/TGO88SRRS +)#E#(5'6$5'(&)';(5#';:$*)5&'J0I5-$;'J$,'J&)0(;'J5'6$(I)#,6I$(I&$;)($#*$-,--&().D !"#$%&'(&)$*#)$+,--&().$/)(0$$1232$4-)5'6$4()&&(7$89 /(:;'(;7$</$=3=3>$?4/$$$$232@AB=@=3A>$$$$CCCD,'5E;@,0;D#)6 ! © 2020- UNIMA-USA !"#"!"!"$"%"&"'"""(")"%"$"&")"*"%"("+")"*", !"#"!"!"$"%"&"'"""(")"%"$"&")"*"%"("+")"*", !"#$%& !"#$%&'!(&%)*+& (,!-./!010 23%*44.%$5!67!89::; + * & #(($, *<&%)*+&=>?*)+@A.? !"#$%&"'()##$#*+&*,-.$*/' !2%!""#$%&Q@G%-#+%+$./$0%-(% -.##)&!(&%)*+& !""#$%&'%($)*#+$,%-#+%+$./$0%-(% R#S6$<5"%:#$%';,&*'(%#"(,%'2(,&*4#$* B<&%)*+&=>?*)+@A.? Puppetry International 1-2%3#,0/45"%!"#$%&'()* +,-.#%/0% )% ,"%$*4#*&,*3,"'2(#%%#%TU!VN;W%($)*#+$,% 6+/77/)2*%+$8/9)4/2/24%-(%*:$%;<-**/":% 0$#*/'$+&(1//2,3"4$"5,-.$*/' Spans the Globe* *0-%=+-,#<*/-2"%6>%;:)E$"=$)+$J% =7)>%)"%)%2/4:*%-(%=+-%0+$"*7/24?% C.D#!-&++ +,-.#%/*+6#%%T<'&#(%*+,-.#%/W%6>%3)%!!!!!!!!!!!!!!!!!!!!!E.D#@B&++@<F<<&3&&%=>?*)+@A.?! !""#$% &@A% <-.$+$,% B/2>% C/2D)% U/77$%,#%7)/*/$+G%)%67--,>%*)7$%=$+(-+9$,% ;:)E$"=$)+$F)%-2$89)2%-=$+)*/-2% 6"78+#*"'( Yes, the long-awaited “Puppets and Shakespeare” issue is here 0/*:%9)2>%-6D$<*"%6>%*0-%)<*-+"%0:-% *:)*%=$+(-+9"%+,-.#%/G%123#2*,(4* 9/&#:;*+&*,</',-;"=*'/&$=,>".$+ at last. We’d begun work on it about five years ago when the $2,%#=%"=7)**$+$,%0/*:%6-*:%+)0%$44"% G.#*+$!G&H&3 56&'#%%)2,%7,3&#%% 0/*:% 7/**7$% 2/2D)% British UNIMA publication beat us to the punch. Having put it )2,%.)"*%)9-#2*"%-(%"*)4$%67--,%T)*% (/4#+$"%)<H#/+$,%(+-9%)%4#96)778*>=$% off until tomorrow, and tomorrow, and tomorrow, our time has come at last to share news of -2<$%:/7)+/-#"%)2,%:-++/(>/24WX%)2,% ).4"'*$#$&% .$2,/24%9)<:/2$?%!""#$%%&@I%($)*#+$,% 7.#&I!J..$&#.F>D midsummer nights and tragic loves, tempests and tyrants, poisons and potions, performed Y/$+%Y-+<:$+-25"%Z)97$*/<%.)+/)*/-2% *0-%.$+>%,/(($+$2*%8#39#$%$J% -2$% *$K=F#)?*LFK*@.%> to great acclaim by figures small as a thumb or big as a house. =&*>*,*?6#&?6#*-/2$#*4#*926""'%T8/#"#* =$+(-+9$,%-2%)%":),-0%"<+$$2%/2% Shakespeare wrote thirty-seven plays, and it is remarkable that the overwhelming '$*<23#%/'()*12%%#(WF)%6+$)*:*)E/24% ?'/.:=*$/& *:$%K)7/2$"$%0)>)24%E#7/*%*+),/*/-2G% !"#$%&'()*!M&%%)&!N+*%)* majority of productions done with puppets, or in a visual theater style, are Hamlet, Macbeth, ,/"=7)>%-(%()"*8=)<$,%<-9$,/<%)<*/24% *:$%-*:$+%)%7)+4$%<)"*G%/2*$+2)*/-2)7% 2MON6P"Q!2MRGN, The Tempest and A Midsummer Night’s Dream. We are not quoting a scientific study, and of )2,%-6D$<*%=#==$*+>? <-77)6-+)*/-2%=$+(-+9$,%)*%CLM5"% course we are generalizing: We’ve seen a riotous hand puppet version of Romeo and Juliet U/2)77>G%/2%/""#$%&QOP! X6,17! ;,,! @AB>)C@D),E"&"'+;,D"='"*+'F 3)%N)9)?%&OO%6+-#4:*%)%+$./$0%-(% from South America, and in this issue Davis Robinson recalls an Antony and Cleopatra /,O6,B,5!*+,-.#$C+)#+/(-.P!B/622,7!*75! S)#A&#3!"#3D.#I >$*% )2-*:$+% 8#39#$%J% )2% /2*/9)*$% that he directed using puppets. Also, Paul Vincent Davis remembers the years in which 56/,K2,5!Y%!I@T-,@.!Z*,"!M2!/,75,/-!2),! +$0-+E/24% <)77$,% 8/#* :#,$%G% )% 9$*+*$/&# he and Carol Fijan worked on scenes from Shakespeare including comic scenes from The *156,7K,!B627,--,-!2@P!6?!7@2!.*/26K6.*72-! <-77)6-+)*/-2%6$*0$$2%P$,9--2% T*%)*##&!MFAU&% Taming of the Shrew and several bits from Richard III, but by and large it is the “big four” 67P!*![@/,*7!-)*A*76-26K!K,/,A@7%P! )2,%*:$%M:/<)4-%;:)E$"=$)+$%B:$)*+$? that continue to provide inspiration to puppet companies. We suppose that we’ll now be B)6K)!Y/658,-!2),!B@/N5!@?!-2*8,!*75! >"87"'#G$H,D"'4$="# 2)*2!@?!2),!*156,7K,"\ V*F%)&!2'I>&%3 hearing from troupes around the globe about their celebrated puppet productions of Pericles V*F%)&2'I>&%3=<F<<&3@.%> or The Merry Wives of Windsor, and, frankly, I hope we do. ?""',3"4$"5,-.$*/' ! % On offer here is Lawrence Switzky’s appreciation of Barry Purves’s Next. This is a G*KK)*!(.K#&%5!6.%3D'&K3&%#!R#)H&%K)3I 9/&*'/;;"' & 0" & V)K*!WD.$&K remarkable short animated film in which Shakespeare himself acts out all 37 of his plays ?""',3"4$"5"'# – as a series of silent, 7-second actions. We’ll have a link on our web site or you can search C.D#!-&++5!R#)H&%K)3I!.4!Z.##&A3)AF3 1/+'.,/<,!$'"=*/'#I,@AB>)C@D)I,B&=J for [Purves Next] on YouTube. O)+&&#!-+F?&#3D*+5!WF3>&%K!R#)H&%K)3I X.F#$)#>!(%&K)$&#3!L!CNT!7O62,6 Peter Schumann produces a Hamlet spectacle with a large cast and even larger puppets, YF%3!7F#3&%5!+,-./0-$1&& G*'#!M%*A&I!-%*#$&K5!G*+D.FK)&!R#)H&%K)3I while Ayhan Hülagü retools Hamlet in the style of the Turkish Karagöz shadow theater. 23&<D&#!Y*<+)#5!2/3-&+,-./0-$1!! Manuel Morán takes us through the process of Latinizing Shakespeare for his production of -%*$4.%$!Z+*%U5! -%*$4.%$!Z+*%U5!!,-#.),-,&! Sueño, based on A Midsummer Night’s Dream. All of which goes to show that Shakespeare, -.'+)#>!J%&&#!23*3&!R#)H&%K)3I M%F$)!Z.D&#5!4-3,-1#,'&& whose too, too solid flesh resolved itself into a dew more than four centuries ago, remains T*33D&'!NK**A!Z.D&#5! G%&'!"++)K.# the most adaptable and popular playwright the world has ever known. R#)H&%K)3I!.4!Z.##&A3)AF3 J&.44%&I!Z.%?)&%! Y*3DI!X.+&I Y*3DI!X.+&I5!R#)H&%K)3I!.4!Z*+)4.%#)*5! Mind you, this is not the first time we’ve covered Shakespeare performed with puppets. In 2*#3*!Z%F[ Z+*F$)*!,%&#K3&)#! Y*%&#!2?)3D!! our very first issue we had an interview with Fred Curchack, well-known deviser of solo C&##)4&%!J..$+*#$&%5!N#$)*#*!R#)H&%K)3I5! 23&H&#!P)$&%?*# shows, including his takes on The Tempest and A Midsummer Night’s Dream. Now, 25 years -+..?)#>3.# ZD*$!P)++)*?K later, he is back for a reprise, with an update on his work with the Bard. "+)KK*!T&++.5 In issue #4, we ran an article on famed Canadian Director Robert LePage. Among other N#$&<&#$&#3!2AD.+*% ,@AB>),B&*"'&+*$/&+;,9/:&=$;/'# things, he talked about his Hamlet, in which actors were suspended from cables and only Z+*F$)*!,%&#K3&)#5!7F#3&%!Z.++&>&\J%*$F*3&! * “Oh dear,” thou cryest, “How ever shall we Y%)K3)#!7*H&%3I!! able to express themselves through the musculature of their backs. Z&#3&%5!Z)3I!R#)H&%K)3I!.4!6&'!Q.%U access all those backissues to which the editor YF%3!7F#3&%!! Z+*F$)*!,%&#K3&)#!! Z.+&33&!2&*%+K5!R#)H&%K)3I!.4!T*%I+*#$5!!!!!! doth refer?” But be thou of cheerful mind, dear Y*%&#!2?)3D! *The Globe Theatre, that is -*+3)?.%&!Z.F#3I reader, for soon all backissues shall be online, for free. Thy membership dollars at work. ! " !"#"!"!"$"%"&"'"""(")"%"$"&")"*"%"("+")"*", !"#"!"!"$"%"&"'"""(")"%"$"&")"*"%"("+")"*", Out(45("#)#1(! $/-6&++of Joint Hamlet Custom-tailored to fit the newly built Scene 1: The Hamlet Syndrome Greensboro Arts Center (gifted to the little Alternate voices reading “To Be or Not To Be” while young and old town of Greensboro in the Northeast Kingdom FDUGERDUGZLQJHGSXSSHWHHUVÁ\RYHUWKHVWDJH of Vermont by a philanthropist) performed Scene 2: Naked Ghost by dedicated friends, Bread and Puppet Fist puppet guards in small box-stage comment on the appearance geezers and neighbors young and old (8-84) of the Naked Ghost giant as it rises and collapses. made themselves available as much as they could afford for four rehearsals and one dress Scene 3: Death rehearsal with everybody attending, in April To a concert of trumpet and vacuum cleaner, giant Death, tattooed with 2018 while the resident company was on tour. WKH´2WKDWWKLVWRRWRRVROLGÁHVKZRXOGPHOWµVROLORTX\ULVHVZKLOHD high school textbook interprets Hamlet’s mind and a seven foot pointer- The urgency of the production was rooted in puppet singles out the appropriate lines on the body of Death. the out-of-joint politics of the day that resulted in Trump’s out-of-joint kingdom and needed Scene 4: The Dumb Show to be compared to this classic tale of another ,QWURGXFHGE\JLUOVGDQFLQJDQ,ULVKMLJDQGWKHQSOD\LQJÀGGOHV out-of-joint kingdom.
Load more

Recommended publications
  • Regency Actors and the Inspiration Behind Romantic Drama
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2017 Fit for the Stage: Regency Actors and the Inspiration Behind Romantic Drama James Armstrong The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2317 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] FIT FOR THE STAGE: REGENCY ACTORS AND THE INSPIRATION BEHIND ROMANTIC DRAMA by JAMES ARMSTRONG A dissertation submitted to the Graduate Faculty in Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2017 ii © 2017 JAMES ARMSTRONG All Rights Reserved iii Fit for the Stage: Regency Actors and the Inspiration Behind Romantic Drama by James Armstrong This manuscript has been read and accepted for the Graduate Faculty in Theatre in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. May 12, 2017 ______________________________ Date Chair of Examining Committee Marvin Carlson Distinguished Professor May 12, 2017 ______________________________ Date Executive Officer Peter Eckersall Professor ______________________________ Jean Graham-Jones Professor ______________________________ Annette J. Saddik Professor Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract Fit for the Stage: Regency Actors and the Inspiration Behind Romantic Drama by James Armstrong Adviser: Distinguished Professor Marvin Carlson In this dissertation, I argue that British verse tragedies of the Romantic era must be looked at not as "closet dramas" divorced from the stage, but as performance texts written with specific actors in mind.
    [Show full text]
  • The Editors of Puppetry International Hope You Enjoy Reading Greg Pellone's Full
    The editors of Puppetry International hope you enjoy reading Greg Pellone’s full account of the life and work of Joe Parsonage. MEET JOE PARSONAGE About one year ago, I read an obituary for Mr. Robert Gregg written by Fred Putz in the Winter/Spring 2016/17 Puppeteers of America Puppetry Journal.1 For some reason unknown to me at the time, I had an overwhelming compulsion to try to find out more about Robert. I was eventually put in touch with his widow Christine, who coincidentally lives nearby, and she agreed to meet and tell me more about her husband. Sadly I never had a chance to meet Robert personally, but wish I had. Like me, he was a lifelong puppetry enthusiast. Our paths did cross by strange circumstance in August 2015 when he and Christine visited a large exhibition of our world puppet collection which was sponsored by The Florida CraftArt Gallery in downtown St. Petersburg (see the Fall 2015 POA Puppetry Journal2). While they were there, Robert had asked to meet me, but for some reason I was never informed and unfortunately we never met. Also like me, Robert was a Punch and Judy fan, and an old set of Punch and Judy puppets that he had purchased some years ago from “Uncle Ted” Raub, a television personality in Pennsylvania, were among his favorites. Those puppets are now a permanent part of the Pellone/Barrett Puppet Collection with much gratitude to both Robert and his wife and to Mr. David Wilde, notable British Punch and Judy collector and historian who positively identified them as Joe Parsonage’s work.3 All puppets in the collection are photographed, archived and cataloged with pertinent information.
    [Show full text]
  • The Puppet Master Index 1946 – 2018
    The Puppet Master Index 1946 – 2018 Produced for the British Puppet & Model Theatre Guild and the National Puppetry Archive by Ray DaSilva Introduction The Puppet Master has been produced continuously by the Guild since 1946, sometimes monthly, bimonthly, haphazardly and then annually. Before World War II the Guild published Notes and News, and then during the war The Wartime Bulletin. Most people will not be aware of the hours of work undertaken by the succession of editors over the years, especially in the pre-digital age –even so, the standard we have enjoyed using computers is still no mean feat. We owe them all a great debt for providing a record of Guild members’ work and of other puppetry activities in Britain, together with news, views and technical articles –some of which the editors had to write themselves when efforts to cajole others to contribute had not been sufficiently fruitful. Much of the material could be seen as ephemeral but it is an important record which will form a part of our National Puppetry Archive. It is this lasting record which is so valuable for archivists and researchers. There have been numerous occasions when we have been asked for information relating to a long-deceased puppeteer by someone researching family history, or by a puppeteer looking to solve a technical problem: the leads and answers have been found in the pages of The Puppet Master. We therefore also appreciate the many contributors for sharing information and knowhow. This combined index of 145 issues to date should help you to find that, often elusive, ‘somewhere’.
    [Show full text]
  • PERFORMING the LABORING CLASS: the EVOLUTION of PUNCH and JUDY PERFORMANCE by Kathryn Meehan, BA a Thesis Submitted to The
    PERFORMING THE LABORING CLASS: THE EVOLUTION OF PUNCH AND JUDY PERFORMANCE by Kathryn Meehan, BA A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Arts with a Major in Theatre August 2014 Committee Members: John Fleming Sandra Mayo Margaret Eleanor Menninger 1 COPYRIGHT by Kate Meehan 2014 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgment. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Kate Meehan, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. ACKNOWLEDGEMENTS I would first like to thank Dr. Margaret Eleanor Menninger, whose support for my work in theatre as an historical tool has been unwavering, and Dr. John Fleming and Dr. Sandra Mayo, who also served as readers for this thesis. I would be remiss if I didn’t thank Adam Rodriguez, La Fenice’s most popular Pulcinella, for providing invaluable insight into the character’s modern interpretation and serving as a sounding board for much of this thesis. Also due recognition is Olly Crick, whose decade-long support of my work as both a performer and academic is much appreciated. Special thanks also to my husband, Stephen Brent Jenkins, and our children, who were both encouraging and understanding throughout the writing of this document.
    [Show full text]
  • “Reviewing the Situation”: Oliver! and the Musical Afterlife of Dickens's
    “Reviewing the Situation”: Oliver! and the Musical Afterlife of Dickens’s Novels Marc Napolitano A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature. Chapel Hill 2009 Approved by Advisor: Allan Life Reader: Laurie Langbauer Reader: Tom Reinert Reader: Beverly Taylor Reader: Tim Carter © 2009 Marc Napolitano ALL RIGHTS RESERVED ii ABSTRACT Marc Napolitano: “Reviewing the Situation”: Oliver! and the Musical Afterlife of Dickens’s Novels (Under the direction of Allan Life) This project presents an analysis of various musical adaptations of the works of Charles Dickens. Transforming novels into musicals usually entails significant complications due to the divergent narrative techniques employed by novelists and composers or librettists. In spite of these difficulties, Dickens’s novels have continually been utilized as sources for stage and film musicals. This dissertation initially explores the elements of the author’s novels which render his works more suitable sources for musicalization than the texts of virtually any other canonical novelist. Subsequently, the project examines some of the larger and more complex issues associated with the adaptation of Dickens’s works into musicals, specifically, the question of preserving the overt Englishness of one of the most conspicuously British authors in literary history while simultaneously incorporating him into a genre that is closely connected with the techniques, talents, and tendencies of the American stage. A comprehensive overview of Lionel Bart’s Oliver! (1960), the most influential Dickensian musical of all time, serves to introduce the predominant theoretical concerns regarding the modification of Dickens’s texts for the musical stage and screen.
    [Show full text]
  • Demolishing Everything with Amazing Speed, Based on Four Puppet Plays by the Italian Presents Futurist Artist Fortunato Depero (1892–1960)
    the richard b. fisher center DEMOLISHING for the performing EVERYTHING arts at WITH bard college AMAZING SPEED July 7–17, 2016 Dear Friends, The Richard B. Fisher Center for the Performing Arts at Bard College Chair Jeanne Donovan Fisher It’s a pleasure to welcome you to the Fisher Center for the world premiere of Dan Hurlin’s President Leon Botstein Demolishing Everything with Amazing Speed, based on four puppet plays by the Italian presents futurist artist Fortunato Depero (1892–1960). The production is part of the annual Bard SummerScape Festival, which this year celebrates the life and work of Giacomo Puccini. Depero and Puccini were contemporaries, though their aesthetic interests could hardly World Premiere have been more opposite. The futurists were self-declared revolutionaries, who took inspiration from the technological advances of the early 20th century to imagine an art of the future, celebrating new frontiers of ingenuity and possibility. For Depero and his DEMOLISHING allies, Puccini represented the decedent past, his grand operas mired in a neoclassical dependence on psychology and emotion. The futurists strove to create a dehumanized art that celebrated speed, automation, and mechanized warfare. They dreamed of theater EVERYTHING WITH and dance that required no human performers, and created plans for elaborate, abstract ballets and plays with machines and marionettes—few of which were ever staged. These included the four scenarios by Depero, known collectively as Dramma Plastico Futurista AMAZING SPEED (Futurist Plastic Theater), which you will see produced for the first time, almost a century after their composition in 1917. Translation, Design, and Direction Dan Hurlin Original Music Dan Moses Schreier Contemporary theater artist Hurlin, who lives and works in Stuyvesant, New York, discov- Sound Design Dan Moses Schreier and Josh Reid ered Depero’s plays while he was in Italy as a recipient of the Rome Prize two years ago, Projection Design Tom Lee and set out to perform them.
    [Show full text]
  • Book Reviews
    Fall 1992 191 Book Reviews Fall 1992 193 Shakespeare's Caliban: A Cultural History. By Alden T. Vaughan and Virginia Mason Vaughan. New York: Cambridge University Press, 1992. 290 pages. This text—well-written, thoroughly researched and eminently readable—is an intriguing entry in a relatively new subgenre of theoretical studies: the 'cultural history/ based upon analysis of the protracted recycling of a play, character or set of tropes over an extended period of time. Such studies often posit that the incarnations of consistently reutilized texts or tropes reveal shifts in social attitudes in the process of intracultural transformation. Other texts of this type—such as Paul Davies' The Lives and Times of Ebeneezer Scrooge, Stephen Forres Hideous Progenies, and Lucy Hughes-Hallett's Cleopatra— achieved their aims to varying degrees of success, and the Vaughans' text is among the more successful. Shakespeare's Caliban is a useful and often fascinating text, although it focuses more of its attention upon things literary than theatrical. Nonetheless, scholars will find it valuable for any course on or investigation into the later Shakespeare, the theatre of the 17th and 18th centuries, or contemporary modes of analysis and their relationship to cultural ideology, and directors, designers, et. al., will find in the text an immensely valuable research tool. Shakespeare's Caliban focuses upon the evolution of perceptions revolving about that single character from Shakespeare's day to the 1990s, tracing the presentation of Caliban from biological mongrel in the 17th and 18th centuries, through Darwinian symbol in the mid- to late 19th century, to carrier, in our own time, of questions about imperialism, colonialism and their attendant racist attitudes.
    [Show full text]
  • Building American Puppetry on the Jim Henson Foundation
    BUILDING AMERICAN PUPPETRY ON THE JIM HENSON FOUNDATION DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Jennifer Kathleen Stoessner, M.A. ***** The Ohio State University 2008 Dissertation Examination Committee: Approved by Dr. Joy Reilly, Adviser Dr. Beth Kattelman Adviser Dr. Alan Woods Graduate Program in Theatre Copyright by Jennifer Kathleen Stoessner 2008 ABSTRACT Historically the United States, with the exception of ritual performances by indigenous Americans, did not have a distinct puppetry tradition, utilizing instead the imported techniques of its immigrant population. In the twentieth century, puppeteers began to explore puppetry’s capabilities, producing challenging and innovative theatrical work in a distinctly American style. Puppetry was given a stage as popular broadcasting content on the newly invented television. In this media environment, Jim Henson pioneered new techniques, becoming the most famous puppeteer in history. His success enabled him to serve his field as a spokesman and sponsor. In 1982, he established the Jim Henson Foundation, a non-profit organization to support puppetry artists. The Jim Henson Foundation is the only organization in the United States devoted to funding puppet theater and its mission reflects Jim Henson’s commitment to the community of artists who make American puppetry the vivid panorama it has become. Without the Foundation, puppetry in the United States would not be experiencing the explosion of creativity and exposure it currently enjoys. To present a picture of puppetry in the United States and Henson’s work, a brief history of puppetry in America as well as an in-depth scrutiny of Jim Henson’s career is provided.
    [Show full text]
  • The Grimaldian Clown in the Work of Charles Dickens Jonathan
    1 “Clowns that beat Grimaldi all to nothing turn up every day!”: The Grimaldian clown in the work of Charles Dickens Jonathan James Buckmaster PhD thesis Royal Holloway, University of London September 2012 2 Contents Contents ................................................................................................................................... 2 Table of Figures ........................................................................................................................ 3 Thesis Abstract ......................................................................................................................... 5 Acknowledgements .................................................................................................................. 6 Declaration ............................................................................................................................... 7 CHAPTER 1 - Introduction ........................................................................................................ 8 CHAPTER 2 - Literature Review .............................................................................................. 18 CHAPTER 3 - The Memoirs of Joseph Grimaldi – A Reassessment ......................................... 57 CHAPTER 4 - The Gluttonous Clown .................................................................................... 134 CHAPTER 5 - The Clothed Clown .......................................................................................... 192 CHAPTER 6 - The Slapstick Clown........................................................................................
    [Show full text]
  • The Corsican Brothers: Its History, and Technical Problems Related to the Pro­ Duction of the Play
    This dissertation has been 64-1266 microfilmed exactly as received HUNTER, Jack Worth, 1928- THE CORSICAN BROTHERS: ITS HISTORY, AND TECHNICAL PROBLEMS RELATED TO THE PRO­ DUCTION OF THE PLAY. The Ohio State University, Ph.D., 1963 Speech-Theater University Microfilms, Inc., Ann Arbor, Michigan THE CORSICAN BROTHERS: rrs HISTORY, AND TECHNICAL PROBLEMS RELATED TO THE PRODUCTION OF THE PLAY DISSERTATION Presented In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jack Worth Hunter, B.A., M.A. The Ohio State University 1903 Approved by Department of Speech 11 ACKNOWLEDGMENTS To Anne for encouragement, perseverance, understanding; and to John McDowell for his vision and energy which created the unique research facility which has made such studies as this possible. iii TABLE OF CONTENTS Page ACKNOWLEDGMENTS................................................................ iii LIST OF ILLUSTRATIONS........................................................... vi Chapter I. INTRODUCTION...................................................... 1 Scope and purpose of the study Nature of the materials consulted Organization of the study Definition of terms I I . A HALF CENTURY OF THE CORSICAN BROTHERS........................................................... 9 The Play in F ra n c e ............................................. 9 Origin of the play Charles Fechter The Productions in England................................ 14 Charles Kean and the original English production Fechter in England The revivals of Sir Henry Irving Sir John Martin-Harvey The Productions in A m erica.............................. 46 New York productions Productions outside of New York Toy Theatre Productions ................................... 60 III. THE PLAY................................................................ 66 Critical reaction A note on Boucicault's contribution Structure of the play iv Page The plot The sub-plot Variations from BoucicauLt!s version IV .
    [Show full text]
  • SPRING and SUMMER 2011 Issue #29 P UPPET' Y
    SPRING and SUMMER 2011 Issue #29 P UPPET' Y $5 95 US $7 95 CAN 0 74470 87511 6 MPeteeRS of AMe:ka v U ENX°NeRs#RY .NB~toNaIP@Pelk¥fesllVal.ORB ,/1 / 1 11 k . 1 bli PUPPETRY INTERNATIONAL issue no. 29 The Editor's Page 2 TOY THEATRE Toy Theatre Then and Now by Ann Szalic, Neff . 4 Preetz Festival /n' Michael Netson 12 Great Small Works br Trudi Cohen _ 20 Terror as Usual br Clare Dolan ... 11 Little Blue Moon bv Kat/ir Foler . 16 Basement Puppet Theatre by Joe Mc·Cormack 29 Playing with Toys by Mai-k Fussman 30 SPECIAL COLOR SECTION! Toy Theatre at the Bruce Museum /n· Eric G. Bernard C \ PEER REVIEWED ARTICLES Robert Poulter br Far Tsitc,it .- 8 The Example of Germany by John Rouse 16 PERFORMANCE REVIEW Or You Could Kiss Me (D.T. Bran(les) . 32 BOOK REVIEW Leo's Heroes (Trish Lewis) .34 ©2011- UNIMA-USA Puppetry International is a publication of UNIMA-USA, Inc. American Center of the UNION INTERNATIONALE de la MARIONNETTE Proinoting international friendship and zinderstanding thi·origh the art of plippetry c/o Center for Puppetry Arts 1404 Spring Street, NW Atlanta, GA 30309 USA 404-873-3089 www.unima-usa.org On the COVER .. from r=7 A Cltild's View: NATIONAL 19111-Century Paper Theaters ENDOWMENT FOR THE ARTS Bruce Museum. Greeliwich. CT (see center pages) This project is supported, in part, by an award from the National Endowment for the Arts. PUPPETRY INTERNATIONAL . I. t r , ,/ if l 4 Famfy lf'*,rwk .
    [Show full text]
  • National Endowment for the Arts FY 2015 Spring Grant Announcement
    National Endowment for the Arts FY 2015 Spring Grant Announcement State Listings Project details are current as of April 17, 2015. For the most up to date project information, please use the NEA's online grant search system. Included in this document are Art Works grants, State & Regional Partnership Agreements, and Research: Art Works grants. All are organized by state/territory and then by city, with the exception of the State & Regional Partnership Agreements which appear at the top of each state. Click the state or territory below to jump to that area of the document. Alabama Kentucky Ohio Alaska Louisiana Oklahoma American Samoa Maine Oregon Arizona Maryland Pennsylvania Arkansas Massachusetts Puerto Rico California Michigan Rhode Island Colorado Minnesota South Carolina Connecticut Mississippi South Dakota Delaware Missouri Tennessee District of Columbia Montana Texas Florida Nebraska Utah Georgia Nevada Vermont Guam New Hampshire Virginia Hawaii New Jersey Virgin Islands Idaho New Mexico Washington Illinois New York West Virginia Indiana North Carolina Wisconsin Iowa North Dakota Wyoming Kansas Some details of the projects listed are subject to change, contingent upon prior Arts Endowment approval. Information is current as of April 17, 2015. Page 1 of 245 Alabama Number of Grants: 6 Total Dollar Amount: $848,800 Alabama State Council on the Arts $743,800 Montgomery, AL FIELD/DISCIPLINE: State & Regional To support Partnership Agreement activities. ---------------------------------------------------- Alabama Folklife Association, Inc. (aka Alabama Folklife Association) $20,000 Birmingham, AL FIELD/DISCIPLINE: Folk & Traditional Arts To support Common Threads II. The project is a series of classes about Alabama quilting traditions. Experienced folklorists and quilting scholars will offer technical training for identifying, documenting, preserving, presenting, and making traditional quilts.
    [Show full text]