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Hansel and Gretel” to America: a Study and Translation of a Puppet Show
BRINGING POCCI'S “HANSEL AND GRETEL” TO AMERICA: A STUDY AND TRANSLATION OF A PUPPET SHOW Daniel Kline A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2008 Committee: Dr. Christina Guenther, Advisor Bradford Clark, Advisor Dr. Kristie Foell Margaret McCubbin ii ABSTRACT Dr. Christina Guenther, Co-Advisor; Bradford Clark, Co-Advisor My thesis introduces the German-puppet character Kasperl to English-language scholars. I provide historical background on the evolution of the Kasperl figure and explore its political uses, its role in children’s theatre, and the use of puppet theatre as an alternative means of performance. The section on the political uses of the figure focuses mainly on propaganda during the First and Second World Wars, but also touches on other developments during the Weimar Republic and in the post-war era. The television program Kasperl and the use of Kasperl for education and indoctrination are two major features in the section concerning children’s theatre. In the second section of the thesis, my study focuses on the German puppet theatre dramatist Franz von Pocci (1807-1876) and his works. I examine Pocci’s theatrical texts, positing him as an author who wrote not only for children’s theatre. Within this section, I interpret several of his texts and highlight the way in which he challenges the artistic and scientific communities of his time. Finally, I analyze and translate his puppet play Hänsel und Gretel: Oder der Menschenfresser. In the analysis I explore issues concerning science, family, government agencies, and morality. -
Puppetry Beyond Entertainment, How Puppets Are Used Politically to Aid Society
PUPPETRY BEYOND ENTERTAINMENT, HOW PUPPETS ARE USED POLITICALLY TO AID SOCIETY By Emily Soord This research project is submitted to the Royal Welsh College of Music & Drama, Cardiff, in partial fulfilment of the requirements for the Degree of Bachelor of Arts in Theatre Design April 2008 i Declaration I declare that this Research Project is the result of my own efforts. The various sources to which I am indebted are clearly indicated in the references in the text or in the bibliography. I further declare that this work has never been accepted in the substance of any degree, and is not being concurrently submitted in candidature for any other degree. Name: (Candidate) Name: (Supervisor) ii Acknowledgements Many people have helped and inspired me in writing this dissertation and I would like to acknowledge them. My thanks‟ to Tina Reeves, who suggested „puppetry‟ as a subject to research. Writing this dissertation has opened my eyes to an extraordinary medium and through researching the subject I have met some extraordinary people. I am grateful to everyone who has taken the time to fill out a survey or questionnaire, your feedback has been invaluable. My thanks‟ to Jill Salen, for her continual support, inspiration, reassurance and words of advice. My gratitude to friends and family for reading and re-reading my work, for keeping me company seeing numerous shows, for sharing their experiences of puppetry and for such interesting discussions on the subject. Also a big thank you to my dad and my brother, they are both technological experts! iii Abstract Puppets are extraordinary. -
A Book of Operas
A Book of Operas Henry Edward Krehbiel A Book of Operas Table of Contents A Book of Operas................................................................................................................................................1 Henry Edward Krehbiel...........................................................................................................................1 CHAPTER I. "IL BARBIERE DI SIVIGLIA"........................................................................................1 CHAPTER II. "LE NOZZE DI FIGARO"..............................................................................................7 CHAPTER III. "DIE ZAUBERFLÖTE"...............................................................................................14 CHAPTER IV. "DON GIOVANNI".....................................................................................................20 CHAPTER V. "FIDELIO".....................................................................................................................27 CHAPTER VI. "FAUST"......................................................................................................................34 CHAPTER VII. "MEFISTOFELE".......................................................................................................39 CHAPTER VIII. "LA DAMNATION DE FAUST".............................................................................47 CHAPTER IX. "LA TRAVIATA"........................................................................................................50 CHAPTER -
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. -
Livree 1.Pdf
p i L BRAR ES PUBLIC LIBRARY THE BRANCH 3 3333 02373 0530 --&~f- JL b y SB>^^ "- * A BOOK OF MARIONETTES c o -o o ^ I a _= z ~ c/i 4-1 (LI O. o. 3 a. A BOOK ofj MARIONETTES by HELEN HAIMAN JOSEPH SX I -'* **'} v >. ...... York B. W. HUEBSCH COPYRIGHT, 1920, BY B. W. HUEBSCH To my Father ELIAS HAIMAN With pride and love for the brave simplicity and gentle nobility of his life '* . i . i > - > * -, .* .*- ',. r?rs; : V .*' , ", -;-- Note THE story of the marionette is endless, in fact it has neither beginning nor end. The marionette has been everywhere and is everywhere. One cannot write of the puppets without saying more than one had in- tended and less than one desired: there is such a piquant insistency in them. The purpose of this book is altogether modest, but the length of it has grown to be presumptuous. As to its merit, that must be found in the subject matter and in the sources from which the material was gathered. If this volume is but a sign-post pointing the way to better historians and friends of the puppets and through them on to more puppet play it will have proven merit enough. The bibliography appended is a far from complete list of puppet literature. It includes, however, the most important works of modern times upon mario- nettes and much comment, besides, that is casual or curious or close at hand. The author is under obligation to those friendly individuals who generously gave of their time and NOTE interest and whose suggestions, explanations and kind assistance have made possible this publication. -
Petrushka Show
Petrushka Show The Study Guide by Vancouver Puppet Theatre 2015 copyright © Contents The Company......................................................................# Set Up Requirements..........................................................# Background on the Production...........................................# Making the Show...............................................................# Synopsis of Petrushka Show..............................................# Discussion Topics..............................................................# Primary Students...............................................................# The Arts Curriculum.........................................................# Working with the Arts Community.....................................# Arts Education K to 7: At a Glance....................................# The Creative Process (Diagram) ..................................# Aknowledgement...................................................................# Dear Teacher: We’re looking forward to presenting Petrushka Show for your students. This Study Guide has a synopsis of the show, information about the production, and some background on the Vancouver Puppet Theatre. If you'd like to know more about our company, visit our website at www.vancouverpuppets.com We hope your students and staff enjoy the show! Kind Regards, Viktor Barkar Artistic Director and founder of the Vancouver Puppet Theatre Opportunities for listening, viewing, and responding to live and recorded performances and exhibitions are integral -
Puppet Theater in the German-Speaking World
Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 1-1-2010 Puppet Theater in the German-Speaking World Connor Bartlett Doe Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Let us know how access to this document benefits ou.y Recommended Citation Doe, Connor Bartlett, "Puppet Theater in the German-Speaking World" (2010). Dissertations and Theses. Paper 88. https://doi.org/10.15760/etd.88 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Puppet Theater in the German-Speaking World by Connor Bartlett Doe A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in German Thesis Committee: Steven Fuller, Chair Oscar Fernández William Fischer Portland State University ©2010 ABSTRACT This work begins with a brief history of puppet theater in Germany. A look at important social aspects, pertinent philosophical discussions and the significance of puppet theater in the German literary tradition follow. The final chapter looks at Peter Schumann, a German puppeteer and artist who lives in America. In Germanistik, German puppet theater deserves a devoted place in the field of legitimate study in terms of its history, content and influence. Puppet theater’s historical development in Germany represents the larger evolution of Germany. From ancient times up to the present day, this artistic form of representation has enjoyed an audience in the German-speaking regions. -
Raoul Hausmann and Berlin Dada Studies in the Fine Arts: the Avant-Garde, No
NUNC COCNOSCO EX PARTE THOMAS J BATA LIBRARY TRENT UNIVERSITY Digitized by the Internet Archive in 2019 with funding from Kahle/Austin Foundation https://archive.org/details/raoulhausmannberOOOObens Raoul Hausmann and Berlin Dada Studies in the Fine Arts: The Avant-Garde, No. 55 Stephen C. Foster, Series Editor Associate Professor of Art History University of Iowa Other Titles in This Series No. 47 Artwords: Discourse on the 60s and 70s Jeanne Siegel No. 48 Dadaj Dimensions Stephen C. Foster, ed. No. 49 Arthur Dove: Nature as Symbol Sherrye Cohn No. 50 The New Generation and Artistic Modernism in the Ukraine Myroslava M. Mudrak No. 51 Gypsies and Other Bohemians: The Myth of the Artist in Nineteenth- Century France Marilyn R. Brown No. 52 Emil Nolde and German Expressionism: A Prophet in His Own Land William S. Bradley No. 53 The Skyscraper in American Art, 1890-1931 Merrill Schleier No. 54 Andy Warhol’s Art and Films Patrick S. Smith Raoul Hausmann and Berlin Dada by Timothy O. Benson T TA /f T Research U'lVlT Press Ann Arbor, Michigan \ u » V-*** \ C\ Xv»;s 7 ; Copyright © 1987, 1986 Timothy O. Benson All rights reserved Produced and distributed by UMI Research Press an imprint of University Microfilms, Inc. Ann Arbor, Michigan 48106 Library of Congress Cataloging in Publication Data Benson, Timothy O., 1950- Raoul Hausmann and Berlin Dada. (Studies in the fine arts. The Avant-garde ; no. 55) Revision of author’s thesis (Ph D.)— University of Iowa, 1985. Bibliography: p. Includes index. I. Hausmann, Raoul, 1886-1971—Aesthetics. 2. Hausmann, Raoul, 1886-1971—Political and social views. -
Language Learning in Three Early Childhood Programs in Austria, Germany and the United States
Graduate Theses, Dissertations, and Problem Reports 2010 Language learning in three early childhood programs in Austria, Germany and the United States Sandra Schoder West Virginia University Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Schoder, Sandra, "Language learning in three early childhood programs in Austria, Germany and the United States" (2010). Graduate Theses, Dissertations, and Problem Reports. 2958. https://researchrepository.wvu.edu/etd/2958 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Language Learning in Three Early Childhood Programs in Austria, Germany and the United States Sandra Schoder Dissertation submitted to the College of Human Resources and Education at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Education in -
(The) Use of Puppets in the Development of the Drama
Boston University OpenBU http://open.bu.edu Theses & Dissertations Dissertations and Theses (pre-1964) 1931 (The) use of puppets in the development of the drama https://hdl.handle.net/2144/16702 Boston University BOSTON UNIVERSITY GRADUATE SCHOOL The sis THE USE OF PUPPETS IN THE DEVELOPMENT OF THE DRAMA fey Mary Milum ii College, 1929) (A.B. , Hendrix submitted in partial fulfilment of the requirements for the degree of Master of Arts 1931 BOSTON UNIVERSITY COLLEGE OF LIBERAL ARTS LIBRARY £>9 4 3 An. 113) TABLE OF CONTENTS YoaJ page I INTRODUCTION 1 Definition 1 Kinds of Puppets 2 Antiquity and Universality 6 Purpose 10 II ASIA 11 India 11 Japan 17 China 21 Java 22 Persia 26 Turkey 27 III EUROPE 30 Greece 30 Italy 31 Sicily 39 Spain and Portugal 42 Germany 43 France 52 England 57 IV THE UNITED STATES 73 V CONCLUSION 86 VI EPILOGUE 90 . page VII ‘ SUMMARY 92 VIII BIBLIOGRAPHY 94 - 1- I INTRODUCTION The drama has ever been a necessity. The re- ligious groups satisfied this instinct through pageants and ceremonies; the educated classes, by classical dra- ma; while the common folk and children have delighted in the puppet-show. The large field of dramatics could nave existed witnout puppets but through them everv phase of humanity has been touched. Tney are the spon- taneous expression of primitive people, just as truly as are folk dramas. Webster’s New International Dictionary de- fines puppet as: "A small image in the human form, of- ten with jointed limbs, moved by the hands or by strings » or wires, as in a puppet-show; a marionette." The terms "marionette" and "puppet" are used inter-change- ably and have the same meaning. -
STORIES of STARS and ACROBATS Forms of Theatre Between Turkey and Europe
This project is co-financed by the European Union and the Republic of Turkey STORIES OF STARS AND ACROBATS FORMS OF THEATRE BETWEEN TURKEY AND EUROPE STORIES OF STARS AND ACROBATS Forms of theatre between Turkey and Europe edited by Fabio Tolledi This project is co-financed by the European Union and the Republic of Turkey Stories of Stars and Acrobats: Forms of Theatre between Turkey and Europe is promoted by the International Theatre Institute General Secretariat (France), in partnership with the Turkish Centre of ITI (Turkey), Form360 (Italy), in collabo- ration with the University of Salento and Astràgali Teatro (Italy). It is supported by the programme “The Civil Society Facility– EU-Turkey Intercultural Dialogue”, co-funded by the European Union and the Government of the Republic of Turkey INDICE Turkish shadow theatre. Karagöz - comicity and nomadism 11 Roberta Quarta Stars and acrobats 57 Fabio Tolledi A few thoughts 75 Refik Erduran Reflections on the place of shamanic rituals in contemporary stage arts based on the play Sacrifice 79 Ayșe Emel Mesci Medieval Arabic Shadow Theatre: a laughable tradition 95 Fatima Sai Acknowledgments The project Stories of Stars and Acrobats: Forms of Theatre betwe- en Turkey and Europe unites three fundamental needs of our time: it educates theatre practitioners in new and unknown theatre tech- niques, it results in an artistic production, it gives research informa- tion in a valuable form and it creates a foundation for friendship of individuals from different cultures. I consider such a human, educational and artistic approach as an important step towards a rich culture and a life in peace. -
The Home of the Puppet-Play
90 7 'HE HOME OF THE PUPPET-PLAY UC-NRLF D7E CT RICHARD PIS GIFT OF HORACE W. THE HOME OF THE PUPPET-PLAY. HERTFORD ; PKINTKD BY STBPHEN AUSTIN AND, SONS. J > > , , .. I t > ' > > , HOME OF THE PUPPET-PLA Y. AN ADDRESS Dhl IVKKI.D HV RICHARD PISCHEL ON ASSUMING THE OFFICE OF RECTOR OF THE KONIGLICHE VEREINIGTE FRIEDRICHS - UNIVERSITAT, HALLE - WITTENBERG, ON THE 12TH JULY, 19OO. Translated (with the authors permission) by MILDRED C. TAWNEY (MRS. R. N. VYVYAN). LONDON : LUZAC & CO., Publtsfters to tfje Intiw 1902. > ) : ,', : *,> r>, THE HOME OF THE PUPPET-PLAY. An Address delivered by Richard Pischd on assuming the office of Rector of the Kbniglichc Vereinigte Fricdrichs- Universitiit, Halle - Wittenberg, on the I2th July, 1900. MOST HONOURABLE ASSEMBLY ! Among the ineffaceable impressions which we retain from earliest childhood to ripest old age, we must include the recollection of the time when we first heard from our mother's lips the immortal fairy tales of Snow-white and the Seven Dwarfs, Dame Holle and Goldilocks, and Little Red Riding Hood and the wicked wolf. Our delight in all these beings became still greater when we saw them afterwards in flesh and blood before us on the stage. Nowadays the Christmas fairy tales are produced for children with lavish splendour, and owing to the gorgeous externals the simple story is often not duly appre- ciated. But those of us who were children in the fifties and sixties or earlier in the nineteenth century, had to be content with plainer fare. In those days the stage consisted of a platform erected in a room only partially lighted by oil-lamps, and furnished with wooden benches, the actors being puppets.