Making Marionette (Puppets) from Paper Pulp by Karen Elzinga
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It Always Gives Watching: the Nothing and the Parahuman in Rilke's Duino
Filozofski vestnik Volume/Letnik XXVI • Number/Številka 2 • 2005 • 161–171 IT ALWAYS GIVES WATCHING: THE NOTHING AND THE PARAHUMAN IN RILKE’S DUINO ELEGIES Miglena Nikolchina A well known story has it that Rainer Maria Rilke heard the first sentence of what was to become the first of his Duino Elegies while a strong Bora was blow- ing up from the sea. It was January 1912 and Rilke was staying at the Duino Castle on the Adriatic as a guest of Princess Marie von Thurn und Taxis- Hohenlohe. It is she who provides the anecdote according to which, while Rilke was walking by the sea, it seemed to him that in the raging of the storm a voice had called to him: ‘Who, if I cried out, would hear me among the angelic orders?’…. He took out his notebook, which he always carried with him, and wrote down these words …1 A voice from the storm – a disembodied voice without a source – cries out a question to Rilke. Instead of answering – and, indeed, although an- gelic perception of the world will run as one of the persistent queries of the Elegies, whom and in what capacity could Rilke answer regarding the hearing of angels? – Rilke writes the question down. The question does not expect an answer and in a way hopes that there would be no answer: for, we are told, if by any chance an angel would press the poet to his heart, the poet would be consumed in the angel’s stronger existence. The question cried out at the poet by nobody is reflected back as the poet’s own question to nobody. -
Rites of Passage: Dionysus and the Chorus of Satyrs1
Universidade de São Paulo, JOHN C. DAWSEY São Paulo, São Paulo, Brazil. RITES OF PASSAGE: DIONYSUS AND THE CHORUS OF SATYRS1 ABSTRACT At the origins of Greek tragedy, in the chorus of satyrs of Dionysian theater, Greeks stared into horror. This observation by Nietzsche is the start- ing point for a discussion of rites of passage and, particularly, of liminal experience. Contribu- tions from contemporary performance and the- ater highlight aspects of this experience. So also, the studies of Julia Kristeva deserve attention. A hypothesis inspired by the writings of Walter Benjamin emerges at the end: vital elements of rites of passage and Dionysian theater have to do with what may be called “margins of margins”. keywords In focus, the double removal of masks (everyday rites of passage, and extraordinary), the subterranean regions of margins of symbols, and the experience of f(r)iction (with margins, f(r)iction, the r between parentheses) in relations between astounding or masks and bodies. Paraphrasing Pascal, the body extraordinary has its reasons of which culture knows not. At everyday margins of margins a double optic is formed: the experience, astounding (or extraordinary) everyday, no sur- corpoiesis prise in the astounding. 1. This article results from research developed as part of the Project “Mother images: drama and montage” (Imagens de mães: drama e montage), Processo CNPq 308691/2012-1. 159 São Paulo, v. 1, n. 1, p. 159 -178, june (2016) I. DIONYSUS AND THE CHORUS OF SATYRS: STARING INTO HORROR I would like to invite listeners on a trip: a discussion about rites of passage.2 Our guide: one of the gods of Ancient Greece, the god of wine Dionysus. -
Teacher's Resource
TEACHER’S RESOURCE Produced by the Education Department UBC Museum of Anthropology 6393 NW Marine Dr. Vancouver BC, V6T 1Z2 www.moa.ubc.ca [email protected] 2020 Learning Through Puppetry + Play ii TABLE OF CONTENTS CONTENTS Teaching Kit Overview ....................................................................................v Chapter 1 Puppets: An Introduction .............................................................1 In the Teacher’s Resource ............................................................................... 1 In the Kit ......................................................................................................... 1 Stories ............................................................................................................ 2 Making + Performing Puppets ......................................................................... 2 Chapter 2 Bringing Puppets to Life ..............................................................5 Tips for New Puppeteers ................................................................................. 5 Chapter 3 Class Activities ............................................................................9 Puppet Cards ................................................................................................ 10 Care + Handling ............................................................................................ 10 Meet the Puppets .......................................................................................... 11 BIG IDEAS • Puppetry is shared -
Download the Digital Booklet
ORIGINAL TELEVISION SOUNDTRACK A GERRY ANDERSON PRODUCTION MUSIC BY BARRY GRAY Calling International Rescue... Palm Treesflutterandthesoundofdistantcrashingwaves echoaroundaluxuriouslookinghouse.Suddenlyalow gravellyhumemergesfromaswimmingpoolasitslides aside,revealingancavernoushangerbelow.Muffled automatedsoundsecho,beforeanalmightyroarfollowedby thelightning-fastblurofarocketasitshootsskyward.Thisis Thunderbird1,high-speedreconnaissance craft,pilotedbyScottTracy. Momentsago,Scott’sbrotherJohn radioed-inadistresscallfromThunderbird5, amannedorbitalsatellite.Alifeis indangerwithallhopelost,except foronepossibility:International Rescue.JeffTracy,theboys’father assessesthesituationandduly deployshissonsintoaction. AsThunderbird1propelsitself towardsthedangerzone(now inhorizontalflight),itsfellowcraft Thunderbird2isreadiedforlaunch.This giantgreentransporterstandsontop ofaconveyer-beltofsixPods,each containingadifferentarrayoffantastic rescueequipment.WiththenecessaryPod selected,VirgilTracy(joinedbybrothers AlanandGordon)taxisthehugevehicleto thelaunchramp,whichraisesthecraftto40 degreesbeforeittooblastsskywards.International Rescueareontheirway,Thunderbirdsarego! Inspiredbythisdramaticevent,forhisnexttelevisionseriesGerry Approaching Danger Zone... Andersonenvisionedanorganisationpreparedforsucheventualities IntheAutumnof1963,writerandproducer -
The Power of the Puppet
Union Internationale de la Marionnette The Power of the Puppet Editor Livija Krofl in The UNIMA Puppets in Education, Development and Therapy Commission Croatian Centre of UNIMA Zagreb, 2012 ffinal_12_06_2012_.inddinal_12_06_2012_.indd 3 112.6.20122.6.2012 117:46:387:46:38 THE POWER OF THE PUPPET Publishers The UNIMA Puppets in Education, Development and Therapy Commission Croatian Centre of UNIMA Editor Livija Krofl in English Language Editor Meg Amsden Reviewers Iva Gruić, Ph.D Prof. Dr. Robi Krofl ič Dr Peter Lang Layout, Design & Printed by Teovizija, Zagreb A print run of 400 copies © UNIMA 2012 All Rights Reserved A CIP catalogue record for this book is available from the National and University Library in Zagreb under 804855 ISBN 978-953-96856-6-7 ffinal_12_06_2012_.inddinal_12_06_2012_.indd 2 112.6.20122.6.2012 117:46:387:46:38 CONTENTS PREFACE Livija Krofl in . 7 Art as a Pathway to the Child Edi Majaron . 11 Aff ective Education through the Art of Animation Theatre Ida Hamre. 18 Playing with Puppets in Class – Teaching and Learning with Pleasure Helena Korošec . 29 The Role of the Puppet in Language Teaching Livija Krofl in . 46 Puppetry for Development Cariad Astles . 63 The Politics of Applied Puppetry Matt Smith . 79 Being Carbon Neutral Meg Amsden . 86 Puppets and the Emotional Development of Children – an International Overview Barbara Scheel . 96 Biographies of the Authors . 107 Index of names . 113 Index of terms. 116 ffinal_12_06_2012_.inddinal_12_06_2012_.indd 5 112.6.20122.6.2012 117:46:397:46:39 PREFACE The power of the puppet shows itself in diverse fi elds: not only in the puppet theatres, not only in rituals and magical spells, but also in the broad range of education and therapy. -
Legends of Ancient Greece Study Guide
Legends of Ancient Greece Study Guide Objectives Legends of Ancient Greece blends stories from Greek Mythology into an educational epic production that facilitates learning across all age groups. This study guide is an aid for parents and teachers to help children gain important and relevant knowledge of Greek Mythology, theatre etiquette, performing arts and puppetry. Included are applicable South Carolina standards, a synopsis of the show, types of puppetry used and discussion topics for before and after the show. South Carolina Educational Standards Kindergarten - 8th Grade: Visual and Performing Arts TK-T1-7.3 Describe emotions evoked by theatre experiences. TK-T8-7.1 Identify audience etiquette to be used during theatre activities and performances. TK-T3-6.1 Compare and contrast theatre activities and experiences with those encountered in other disciplines. TK-T5-8.2 Experience live or recorded theatre performances. T1-T5-6.4 Use theatrical conventions (for example, puppets, masks, props) in theatre activities. T1&T2-7.2 Describe the characters, setting, events, and technical elements of a particular theatrical experience. T3-T5-7.2 & T6-7.3 Give oral and written responses to live and recorded theatre performances. T4-T8-5.3 Research information about various careers in theatre. T4-T5-6.1 Demonstrate the understanding that theatre incorporates all arts areas. T6-8.2 & T7-8.3 Recognize ways that live and recorded theatre relates to real life. Kindergarden-8th grade: English Language Arts RL Standard 6: Summarize key details and ideas to support analysis of thematic development. RL Standard 7: Analyze the relationship among ideas, themes, or topics in multiple media, formats, and in visual, auditory, and kinesthetic modalities. -
Sean Polite Interview with Ralph Titterton on the Legacy of Composer, Barry Gray
Sean Polite interview with Ralph Titterton on the legacy of composer, Barry Gray. 1961, Kent (United Kingdom): A 6 year boy is sitting about his home in Capel-le-Ferne, a small country village between Folkestone and Dover. With frigid anticipation, he has witnessed what may be the first vehicular accident he's ever seen. A young French woman (of a sterling, timeless beauty) identified only as Venus, has been thrown off her vehicle; a “Jetmobile”, avoiding a roadblock in her driving path. Her blood curdling scream hitting its crescendo, she has the attention of a nearby stranger. The stranger has the lined contours of a “Subterrain”, a hostile alien with a pistol in his right gloved hand. While the shock of the scene no doubt stuns the little fellow; this moment literally fades to black. Yet the boy is still conscious, senses intact. To add more eeriness to this scenario, the young man's ears are taken by the sounding of dramatic music incidentals - which hit on note as the helpless maiden crashes upon some nearby rocks. The year is 1961, and little Ralph Titterton is watching this transpire on his TV set, a well placed commercial break in place for the end of Act I of “Planet 46,” of the Gerry Anderson TV series "Fireball XL5." The music, arranged and conducted by a man named Barry Gray, score a fantastic interlude in Ralph's life---an interlude which will follow acts of his life to come. Barry Gray was a composer, an arranger---a consummate musician whose works have been adored by children and adults alike. -
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. -
Blackface Puppetry in American Theatre, 1872-1939
ABSTRACT Title of Dissertation: THE PHENOMENOLOGY OF RACIALISM: BLACKFACE PUPPETRY I N AMERICAN THEATRE, 1872-1939 Benjamin Daniel Fisler, Doctor of Philosophy, 2005 Dissertation Directed by: Professor Franklin J. Hildy Department of Theatre In 1872, a company headed by English theatrical entrepreneur William John Bullock introduced the first full marionette minstrel show to the American stage . Throughout the following sixty -seven years, puppeteers presented a variety of productions featuring ostensibly African or African American characters, including: traditional blackface minstrel shows, adaptations of Helen Bannerman’s Little Black Sambo, numerous “Punch and Judy” plays, and productions of such ostensibly “authentic” portraits of black persons as Eugene O’Neill’s The Emperor Jones and Jo el Chandler Harris’s “Uncle Remus” stories. This investigation employs phenomenology to explore the “essence” of specific blackface puppets, maintaining that none of the objects or plays discussed here are nece ssarily examples of authentic black representation. Rather, this investigation adopts the shifting perspective of phenomenology to show that what some past puppeteers thought were authentic African or African American characters, were, with but a single exception, consistently racialized exaggerations derived from the heritage of minstrelsy. Phenomenology, in its emphasis on the essence of “things,” permits the scholar to investigate both the physical existence of empirically verifiable objects, such as th e puppets that are still in existence long after the deaths of their creators, and the meanings their observers embed them with, such as the character the puppets were imagined to be during their manipulators’ careers. Phenomenology helps explain the inter action between the puppet’s corporeal form and its perceived dramatic meaning, which is often a result of apportioned, or as some critics call it, atomized components, including: object, manipulation, and voice. -
(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. -
Sicilian Puppet Theater
Sicilian puppet theater Jo Ann Cavallo (Columbia University ) Places: Italy. The Sicilian Opera dei pupi is a form of prose theater that dramatizes primarily chivalric narratives using large wooden puppets with full armor, swords, and shields. The puppets weigh an average of twenty-two pounds in the Palermo tradition and sixty-five pounds in the Catanese tradition, and they are manipulated from above by means of iron rods. These characteristics distinguish the Opera dei pupi from other forms of teatro di figura traditionally practiced in Italy, such as the marionette, light-weight puppets supported by strings, and the burattini, or hand-puppets, both of which present varied, primarily comic, stories outside the context of chivalry. Puppet theater can be found throughout the world from Northern Europe to Indonesia and is attested to in Sicily since the fourth century B.C.E. (Xenophon, Symposium). The concrete origins of the Opera dei pupi tradition, however, are a matter of speculation due to scanty documentation prior to the early nineteenth century. Readers of Cervantes’ Don Quixote may remember how the ill-fated knight mistook puppet theater for reality and attempted to save the puppet Melisenda from the Moors. Whether or not the Italian Opera dei pupi came from Spain (or from Naples, as some sources indicate), it is documented on the island in the early 1800s. Sicilian puppeteers appear to have transformed the art form by creating puppets dressed in decorative metallic armor and capable of intricate movements. Although it was also successful elsewhere, in particular Rome, Naples, and Modena, the Opera dei pupi achieved its greatest popularity in Sicily during the course of the nineteenth century. -
PUPPETRY Intm ATIONAL
FALL and WINTER 2012 Issue #32 PUPPETRY INTm ATIONAL 55.95 US $7.95 CAN 1 74470 87511 6 0. D "A shape shifting world where myth, music, and visuals stretch and shrink, moving us beyond appearances toward visions and essences." - Kathy Foley, Asian Theatre Journal The complete legacy DVD collection chronicles the creation of a unique visual and theatrical vocabulary through documentary films on traditional and SHADOW MASTER innovative shadow work performed by ShadowLight over the past forty years. KAWIT LEGONG MONKEY KING AT SPIDER CAVE ~ DIRECTOR'S CUT SPECIAL FEATURES INTERVIEWS WITH ARTISTS BEHIND-THE-SCREEN MAGIC AND MORE! ORDER TODAY! Visit our online DVD store at www.shadowlight.org ShadowLight Productions Featuiing larry Reed,1 Nyoman Radjeg. I Made Sija, and their farn~lies 22 Chattanooga Street 11 th DVD San Francisco, CA 94114 Ghosts Of the River (415) 648-4461 out Spring 2013! [email protected] PUPPETRY INTERNATIONAL issue no. 32 The Editor's Page 2 PUPPETRY AND SCIENCE FICTION Stephen Mottram interview by Alexander Winfie/d 4 Gerry Anderson and the Thunderbirds by Quincy 7'honias 8 independent Eyek Frankenstein by Conrad Bishop .... 12 Uncanny Dolls: Alison deFren biterview by Marsian 19 Puppeteer in Hollywood by Christine Papalexis.. 22 Puppets at DragonCon P/ interviews Beau Brown 26 UNIMA at Chengdu, China images by Brad/c,rd Clark. 28 Buck Rogers at Chicago World '% Fair bv Dmitri Carter 31 PUPPET HISTORY Puppetry , Science Fiction and Fantasy by John Bell \6 BOOK REVIEWS Godzilla, Mr. Punch in Scotland. & Handpuppets in Mexico review bv John Be// 34 Puppets of Mali review liz Andrew Periale ....