Around The World With Mr. Punch The Online Journal of the worldwide friends of punch and judy Volume 7 No 2 August 2003

Looking Back and Moving On

Then there is also the constant nostalgia interest in Also in this Mr. Punch. He is an A List celebrity in the UK cultural issue heritage industry - with his status having weathered the Teaching late 20th C. obsession with Punch in issues of Political Poland Correctness as a younger generation of parents comes to the fore. Not that Punch Punch up at himself has remained tate unchanged. His show is, after all, moulded by the culture in which it operates and gracie fields, managing to stay in touchrita haworth & with how his audience thinks is what stops him fossilising Tony martin into a museum piece. All great drama has provenÇal contemporary relevance and the underlying dramatic punch premise of Punch and Judy is no exception. These opening years of the new century are as good a punch in oz time as any to reflect on the Punch and Judy traditionIt is this perennial fascination part two and consider its current state of health. This seems towith Punch and Judy which is be an underlying pattern in the articles and otherbeing celebrated in an material submitted for inclusion in this issue of theexhibition at London’s journal. celebrated Pollocks Toy red nosed Museum. Entitled Pollocks miscellany Firstly - as we all know very well - the tradition is asPacks a Punchthe museum alive and flourishing in the UK as ever before and thereexplains that it features is also increased interest in the other lands to which he“puppets and memorabilia Toby’s has migrated. Let us salute, therefore, young Williamfrom the collection of the tailpiece Cousins of the UK (not yet in his teens) who has gotinternationally renowned the Punch bug and can hold an audience with his showPunch performer Professor 18th and 19th centuries as the photograph above, sent in by his dad Rick,John Styles including booths from the collection of Mr. demonstrates. Says Rick “He is just getting under way used in the 1960 cult George Speaight, the with his outdoor shows for this year and has shown no television series The distinguished historian of sign of tiring of his career so far! It looks like dad is Avengers and the film Time the popular theatre and going to have to make a new portable theatre for him Bandits plus puppets and authority on Punch and soon as he is rapidly outgrowing the current one.” artefacts over 100 years old. Also on display a unique Toy Theatre.” Young hands entering an old tradition are proof indeedcollection of Punch & Judy Old Red Nose is certainly of its vitality. prints dating from the late no fading star. TEACHING PUNCH IN POLAND

Prof. Dan Bishop (Lands End, UK) English). There were four lecturers,work with hand puppets - and in was invited to give master classes at three from Poland: particular Mr. Punch - was a steep the International Puppetry Summer learning curve. Even the 3rd Year School, Bialystok, Poland in June and Leslaw Piecka, an expert in stringPolish puppetry student July of this year. This is indicative of puppet construction and the level of seriousness with which (assigned to my classes as a manipulation; Piotr Damulewicz, the wider world of puppetry in Europe translator and assistant) found is engaging once more with the once Professor and authority on playingworking with two puppets despised forms of puppetry of which with and manipulation of objects;simultaneously very difficult Mr. Punch is the pre-eminent Wieslaw Czolpinski, Professor andbecause they have trained using survivor. Seeing new raw talent come director of modern andjust one puppet at a time. to grips with the possibilities inherent unconventional forms of puppetry; in the Punch and Judy show is always and also myself with a brief to teachMy objective after five days (20 exciting - as Dan shows us in his about the theory & practice ofhours each group) was for each article. traditional hand puppet playing -participant to present a 3 minute especially in relation to the U.K.sequence of their own devising of tradition of Punch & Judy. Punch & Judy. I made it clear that Dr. Marek Waszkiel is the Head of the my aim was to provide Puppetry Art Department of theAlthough I have worked at variousinformation and suggest a Aleksander Zelwerowicz Theatrelevels on voice and characterizationprocedure with which they might Academy situated in Bialystok,with puppeteers and puppetrycreate an original interpretation of Poland. (This Faculty of Puppetry Artstudents in the past - at home andthis particular tradition - not as a runs a four year MA course for Actorabroad - there is no doubt that the’museum piece’ - but as - Puppeteers and a five year MAanticipation of this particular periodsomething fresh and up to date of course for Directors). of teaching had caused me moretheir own making. excitement - and more anxiety - Some months ago Dr. Waszkiel hadthan ever before. However, havingDuring the first two days I hinted in conversation that he wouldarrived three days before theinundated the students with as like to arrange some master classesclasses were to commence in ordermuch visual and factual at the Faculty. In June and July of thisto perform in the Bialystokinformation about the Punch & year, a summer school took place inInternational Festival of PuppetJudy tradition as possible. Also in Bialystok which hosted twenty twoTheatres, I had a chance to have athese initial two days we worked students: two from Latvia; two frommeeting with Dr. Waszkiel, and alsoon characterization, some Holland; one from Poland; one fromto have a good look at the Puppetryelementary voice work and on Israel; also a German andArt Department and see themaking Mr. Punch’s voice. Lithuanian. In addition, there were 14conditions in which I was to work. students from the puppetry school of As is always the case, the ’voice’ Cervia in the north east of Italy.Each lecturer worked with each ofproved more difficult for some Sadly, not one from the Unitedfour rotating groups for 20 hours. Inthan for others. Whether it ‘clicks’ Kingdom. practice this meant Monday tostraight away or not seems to be Friday - during the first week - foras much a matter of luck as The cost was only 400 Euros whichfour hours in the morning with oneanything else, and during the two included the cost of food, very goodgroup, then four hours in theweeks of work I saw one student accommodation and 80 hours ofafternoon with another, with amake a strong Punch voice at the intensive tuition over a period of twopresentation on Saturday of thefirst try, while others struggled for weeks in a puppetry school to die for:work of all four groups. Then, in thea few minutes - or hours - before equipped with numerous lecturesecond week, I worked with thesucceeding. There were some rooms, classrooms, workshops,third and fourth groups in the samewho arrived on the third day with studios - and, in addition, a fineway. very long faces and knitted brows. library of puppetry books, an But then - quite suddenly - a assembly hall and a large, fullyI quickly found that the age andbreak through, and broad grins. equipped theatre. Three wellexperience of the students variedAfter only 5 days of work, only equipped rehearsal rooms wereenormously. There were puppetryone of the 22 students decided made available to me and I workedstudents, actors, workingnot to make their final with groups of no more than 6puppeteers and a Polish ethnologistpresentation using the ’voice’ - students. The Subject waswho had never previously workedand of those 21 who did, 16 ‘Mastership in Manipulation’,with puppets. For all, however, theachieved not only a rich sound but (working languages: Polish & also managed the alternation wife, had to wake me up in between Punch‘s voice and that of the middle of the night during the other character(s) with the second week. I was considerable skill. sitting bolt upright, fast asleep, with my hands in the When I divulged the secret of the air practising a routine. ‘voice‘, I stressed - of course - that they must never show off with it, Naturally, I’m not in a position share the secret or use it to comment in any depth on inappropriately and I was very the other three elements of struck with how seriously they all the classes, except to say took this. that judging by the presentations at the end of The foundation of study and each week, the study of practice established in the first two manipulation had clearly sessions were in preparation for been expertly directed. the final, three day task: to choose Several pieces, stand out in and create a contemporary Punch my memory: Amongst them, & Judy sequence of their own a poignant marionette study devising, approximately 3 minutes by Martins Bruveris’ (once long, understandable to an English again); a comic object study speaking audience but retaining on the contraception pill by the essence and spirit of the the Dutch Girls - who also continually evolving tradition gave a bravura performance through the study of extant texts. of ‘Brave Urgurki’ (gherkin) Some participants had also seenmulti-nationally inspired variants, who overthrew a tyrant king, my own performance during theverbal gags, puns - and all were told entirely with vegetables. festival which preceded thetrue to the essence and spirit of the classes. tradition. There were many studies both touching and comic, but During these three days ofI have a photograph (above. Ed.) the one which will always individual preparation it waswhich reminds me of the remain with me was another interesting - and sometimes verypersistence which they applied to object piece from Paolo Rech funny - to see how the differentmastering the ‘spinning’ of so many from Italy & Maja Kruk - nationalities embraced the‘plates’. It is of Francesca Poland. Whilst Maja patiently Britishness of Punch’s drama. ForCastagner - one of the Italian constructed a couple of example, Mr. Punch’s encounterpuppetry students. In it, she is stacks of baked bean cans - with the very serious Policeman ofpictured in rehearsal with her eyes about three in each stack - Martins Bruveris (one of two veryriveted to the practice mirror whilst Paolo opened a large old talented Latvian students) whosuccessfully animating two puppets book, and whilst tearing out a was marvellously ridiculed by(sometimes at high speed), page and then folding it into a Punch kissing him in a cleverlysimultaneously managing props, paper aeroplane he said (in timed sequence of verbal andmaintaining audience involvement, English and Italian) that it is slapstick comedy - this was entirelysustaining her rhythm of said that there is a book of in keeping with tradition yet freshperformance, alternating between life and that each of us has a and strangely different to anythingPunch’s voice and the other page. He then ‘flew’ the I’d seen before. character’s voice - and all this in aeroplane upstage saying English. (as the aeroplane came once Then there was the Hangman, again into view, now on fire) - operated by an Italian - FrancescaFor me, this was the most that none of us knows which Piersanti - who referred to therewarding and satisfactory period page is ours. Then as the gibbet as ‘the hinstrument ofof teaching I have yet experienced, aeroplane reached the two death’. Or the very fierce (Italian)both for the seriousness of study towers of bean cans, they too Judy entering with: “I arrive !!” &the atmosphere of the building burst into flames. “Waaat do you Waaant!!?? Then,seemed to inspire and for the at first, constantly having to remindcommitment of the students I the Polish and Italians that whenworked with, some of whom the baby cries or Punch hits Judy,seemed to grow in confidence and it’s ‘Comico - no tragico’ ! maturity before my very eyes. It was also a lot of fun - mind you, we There were many fascinating andall worked very hard: Gemma, my GRACIE FIELDS, RITA HAYWORTH AND TONY MARTIN

Punch and Judy have been Punchinello what’s the matter featured many times in popular Surely this is idle chatter songs and a message of some All this talk of love has got you down while ago on the PUNCHLINES Must you be a ‘Pagliacci’ Crying always made you splotchy bulletin board enquired about Your’e a funny figure of a clown. the lyrics of one from the 1930s. My fine, furry friend begone. Recorded most famously by Remember the show must go on... Gracie Fields - the Lancashire and on! lass who rose to international stardom - it was also covered Ho Punchinello. Don’t be a down hearted fellow. by other artistes of the dance No Punchinello. band era. Called ‘The Punch Tho’ your heart is breaking in two and Judy Show’ it evokes those Smile through those teardrops ‘days of long ago’ that were Maybe some day she will listen distant even to audiences of And kiss you and whisper seventy years ago. I miss you I need you I do Punchinello funny fellow Your funny old dream By coincidence a day after may come true. transcribing the lyrics from a cassette recording a second song from the same era came your editor’s way. This time an The Punch and Judy Show Then up comes the hangman so tall American composition from and slim, stern and grim. Come with me and I will take you back 1939 featured in the Tony He sets up his gallows and says "I'm again to days of long ago after you". Martin/Rita Hayworth movieWhere we used to gather round to see ‘Music in My Heart’. the merry Punch and Judy show. Then a fight, what a sight, they struggle on the floor. Whilst the lyrics of the GracieJust a frame with curtains tacked uponWith a blow Punch lays him low and he Fields song bear witness to theit made of coloured calico is seen no more. and a lot of little wooden people just a writer having at least seen a jumping to and fro. Now the show is very nearly over how Punch and Judy Show at some we hate to see it end. time, the lyrics of ‘Punchinello’There was Punch a cunning little fellowAll the figures come back for the finish, are a truly dreadful blend ofwith his funny nose and chin see them make a gracious bend. cliche and inaccuracy that go toand his wife though better known as show that Hollywood had (andJudy who comes gaily tripping in. All the things that tickled every fancy in probably still has) not the the days of long ago, There were many other little figures there were none that made us quite so slightest idea who or what some were fat and some were thin happy as the Punch and Judy Show. ‘Punchinello’ is. “My fine, furrybut the kids are waiting very anxiously friend” indeed! I hope it didn’tso let the show begin. win any Oscars. The curtains are open what do we see goodness me Incidentally, although the Punch with his club hits poor Judy on composer and lyricist ofthe head. ‘Punchinello’ are credited as Bob Wright and Chet ForrestThen up comes the policeman in his similar details are not availablesuit of blue, brave and true. for the Gracie Fields song. IfPunch with one blow knocks the poor old Bobby dead. any reader has the missing information it would be welcomeAll the kids begin to laugh Oh gee at [email protected] 'twas lots of fun. Yelling loud to all the crowd says Punch "That's number one". PUNCH UP AT TATE

The Tate Gallery in London has long been a key stopover for anyone on a European cultural excursion, containing as it does national treasures of British art from 1500 to the present day. It is currently re-branded simply as Tate and has a sister gallery Tate Modern situated at the cutting- edge of contemporary Britart. It also has the outpost galleries Tate Liverpool and Tate St. Ives. None of these are places where you would expect to find Mr. Punch going about his normal activities. And thereby hangs a tale.....

In January of this year Dan Bishop and Caz Frost (both members of The Punch and Judy College of Professors) happened to see in Tate St. Ives a video installation by artist Wendy Hiller. It was part of a touring exhibition a pounding sound track began discussions with Tate whose aims are best expressed designed to highlight the to address the issue. by Tate itself “The video “violence”. installations demonstrate the Getting the serious attention frailty of human nature and life The artist herself has referredof this self-protecting experience. CV by Tracey Emin to it (in an issue of Frieze institution of high culture was is an overt visual diary of the magazine dated Summerthe first task. Requesting that artist's life and is also an ironic 1995) as “not intended to be Tate withdrew the work from response to the public an admonition; it was meant to public view whilst the fascination with her private life. be the experience of a complaint was addressed Gordon's Makes Us Drunk by child....Punch and Judy puts was taken as the first step. Gilbert and George reveals both Punch on the puppeteer's The Director of Tate St. Ives artists seated at a table drinking dominant right hand and all the was initially dismissive of the gin to a soundtrack of Elgar and other characters, women, approach saying that Punch Grieg. Susan Hiller's An children, animals, death • on and Judy was “a mediaeval Entertainment looks at a seaside the intuitive, denigrated left” ritual in the public domain”, ritual, the Punch and Judy show, and further observing that and focuses on the drama and Susan Hiller had created theshe didn’t see how it would violence of a scene that has for work sometime in the latebe possible for anyone to so long been taken for granted.” 1980s possibly after shootingidentify their own work in the footage at a Covent Gardenvideo. A brief reminder of Joe or Josephine Prof would May Fayre . Dan and Caz bothCommedia Dell’ Arte history probably describe the latterrecognised extracts of theirand of the fact that any art installation differently. Something own work within it and werehistorian worth their salt perhaps along the lines of Video appalled to see their originalwould easily be able to fragments of some 30 Punch and performances misrepresenteddifferentiate between the Judy shows edited MTV style to in this way without theirbrush strokes of ,say, a permission. Thus the CollegeRubens and a Rembrandt soon persuaded her otherwisecensor the work of a video artistGiven the artist’s interest in the and the matter was referred toby seeking to have the work re-relevant characteristics of the left a person known as Head ofedited or withdrawn fromand right hands it was felt Legal:Tate. circulation. Mr. Punch is not intoappropriate to make the case for censorship - havingMr. Punch On The Other Hand. At this point the College draftedexperienced it enough himself.Thus the following wording will in some expert legal advice ofEqually the College was goingappear in future as a full frame their own from Arts Councilto stand up for the rights of Profscaption, with the wording England. The issue at stakenot to have their work pirateddisplayed clearly legible and held being the right of performingand traduced by artists deemedfor a minimum of five seconds, at artists not to have theirto be higher up the culturalthe end of the video loop. intellectual copyright infringedpecking order. And, of course, just because the performancethere was the issue of defending With thanks to the Punch and may take place in a publicMr. Punch from being tagged inJudy College of Professors whose place. The College washigh profile with a 1980swork inspired mine and who have assured they had a case -feminist viewpoint of the suggested the inclusion of the although it would cost money totradition and its unthinking following bring in the lawyers. assumption that Profs haven’t thought the issues through for On The Other Hand Meanwhile Tate (whose policythemselves before putting“I regard it as quite harmless in its of respecting the copyright ofPunch through his paces. influence and as an outrageous others was fortuitously posted joke” on its website) was assertingTate had by now implicitly Charles Dickens that the video artist hadaccepted that there was indeed on Punch and Judy obtained consent prior toan issue to address. The filming and in any case theCollege therefore suggestedThe Punch and Judy College of quick clips were so short as tothat the alternative to legal Professors not constitute any problem. Theaction was an appropriate College countered by assertingacknowledgement caption atThe College (to which of course that no permission - written orthe end of the video. Tate’sThe Worldwide Friends of Punch verbal - by Dan or Caz existedsuggestion of “With thanks toand Judy is affiliated) is pleased allowing an artist to usethe Punch and Judy College ofthat Charles Dickens thus has the extracts from theirProfessors” was rejected by thelast word. performances in a videoCollege as insufficiently installation. Tate then withdrewrepresenting its own point of the point. The College furtherview. It drew inspiration instead asserted that the use offrom Article 5 of its own fragmentary clips was similar toFounding Articles which says the use of sampled sounds in”Concerning the question of Mr. the recording industry -Punch's morality the College something which was policedsubscribes to the view of with some severity by theCharles Dickens that the Punch Musicians Union and otherand Judy Show is "an interested bodies. The Collegeoutrageous joke which no one in suggested that it would beexistence would think of necessary to bring the actor’sregarding as an incentive to any union Equity in to the disputecourse of action , or as a model and talk about royalties for pastfor any kind of conduct". The screenings. College directs persons persistently critical of Mr. Underneath the manoeveringsPunch's behaviour to debate the was the issue of censorshipmatter further with Mr. Dickens and artistic freedom ofhimself. expression. The College had no wish to see Mr. Punch ARCHIVE OZ :FINALPART This concludes the two part article on the history of Punch in Australia originally printed the the first two issues of Around The World With Mr. Punch back in 1996. It also serves to confirm the general ability of the current online format of the journal to deal with the paper archive editions. Thus over the coming year or so the first five years of the journal will be scanned for the web and deposited as an online archive. This will take precedence over re- printing further articles within new issues of the Journal.

The Editor offers his apologies to any contributor who was expecting to see their work re-printed sooner but begs their indulgence in the interests of the wider project.

Meanwhile all manner of new material is actively welcomed for inclusion in forthcoming issues.

Please send any material to [email protected]

Glyn Edwards PROVENÇAL PUNCH PURSUES PUBLISHER

He is the classic equivalent of Jack Please excuse the excessive rich puppet theatre tradition, alliteration of the heading. It was too which comes from their next-doorKetch. Sartine was chief of police good an opportunity to resist (the neighbour, Italy, and theunder the Old Regime, and it was he fastidious may consider it an exercise Commedia del`Arte is well knownwho plagued the early career of the in the post-modern ironic use of in Provence. The Museum of OldMarquis de Sade as the latter was cliche). The story it heralds, however, Aix in Aix-en-Provence has achased through brothel windows etc. is an interesting one and comes from gallery of marionettes and effigiesI have added a Sergeant too as Anthony Walker who explains all carried in processions etc.general policeman. below - after his translated extract of (Musée du Vieil Aix, Hotel the familiar opening of the Payne- Collier script. Estienne de Saint-Jean, 17, rue Gaston de Saporta, 13100 Aix- LA COMEDIA en-Provence), but the museum is DE not run by Occitan speakers, so I POLICHINÈLA E JACMELINAdon`t think they can help with my PRIMIER ACTE quest for a publisher, but certainly Polichinèla es entendut darrier la scèna they could help enthusiasts about cantant ambe cridas agudas una melòdia puppet traditions etc. populara ; puei pareis e dança sus la scèna en cantant aquestei linhas : Provençal once referred to the Sénher Polichinèla es un brave bon òme,entire south of France (which is Sa costuma es tot jauna e roge, how I am using the word) but now E se de tèmps en tèmps es trobat ivre,refers specifically to the dialect of Es soncament ambe sei bons amics. Occitan spoken in Provence Son argènt librament despend amb elei ; proper. I write in the classical Sa prioritat es de rire e grossir com`un rei. From his own magazine The Raven Es vertadier qu`es un aventurier, script, which is that used in the (available from of 23, Wentworth Drive, Manja, quand pòt, de l`ambròsia, universities and is understood by Christchurch, Dorset, England) Quand morirà ~ Alor, tot serà acabat, all Occitan speakers (Provençals, E aquò serà la fin dau brave bon òme. Anthony also not only forwarded the Languedocians, etc.). I use the above well known image (which thus Provençal dialect. This classical Occitan is the language of what is appears in our Journal for the first time script, re-established at the today southern France, south of in colour) but also a period poem of his beginning of the 20th century by the Loire, from the Atlantic to the own composition in celebration of Mr. Louis Alibert, was the one used in Alps. About ten million people are Punch. If any reader can help put the Middle Ages, and most still able to speak it in one of its Anthony in contact with a possible speakers now prefer it to the forms, although far fewer do publisher of his unusual piece of script of Mistral, the phonetic one actually use it. However, in the Punchiana please contact him at the invented in the 19th century. past few decades, Occitan has above address. been enjoying a resurgence in the I have even adapted Punch`s region, and many people take WELL TROUNC`D classes in it, both at school and atsongs and ditties so they rhyme in Provençal, and I have the Signor Punchinello at Figg`s Academy university. These range from saith, Thou shalt not trounce me, individuals wishing to write andofficials (Sartine, the Sergeant, for I am Signor Punchinello, converse in the language of theirSanson) speaking in French, as Have a care: `tis I shall cudgel you. they represent the state, grandparents, to others with a With that, the noble signore, specialist interest in Occitanadministered from Paris. The armed with courage exemplary, show should thus appeal to did give the knave a beating sore, culture ~ including literature and so that he troubleth Punch no more. music ~ and history. Provençals, as Polichinèla (Punch) wins out at the expense Hath learnt his lesson, sorry knave, who thought `twas a simpleton he gave I taught myself this ancientof these French-speakers!!! the challenge, ay, not the King language some years ago, as it of puppets, stage and ring. The names have also been only takes a month or two to learn And Punch to fair Judith did return if one is fluent in French (more ordeliberately chosen by me. Jack an Account of the battle fit to make her Ketch is replaced by Sanson, mourn, less). I thought the people of with illustrations apt and terse Provence and Occitania (southernwho was chief executioner of upon her fair and gentle arse, France under Louis XVI, the France) would jump at the chance so that with shrieks most warm and shrill, of a translation of Punch andRevolution, and later. It was the wench supply`d her lord the thrill Judy, but maybe they areSanson who cut off the heads of of endorsement for his victory, at the celebrated James Figg`s Academy.* stumped by Punch`s so Englishthe King and Queen, after having brand of humour. Theycut off numerous heads at their (*James Figg`s boxing and fencing academy was themselves have an immenselybehest before the Revolution too. established in London in 1725) red nosed miscellany

Editorial There have been more contributions than available space in this issue - so watch out next time for the saga of ‘Mr. Punch and the Licensing Bill’ in which the UKs National Puppet follows anThere are over 200 items in the catalogue of this major Alice in Wonderland-like plot ofevent as well as hundreds more on the fair stalls with many Government red tape as thebargains. The Punch & Judy Fellowship, and the Punch & machinery of British law creaksJudy College of Professors will be among the stall holders into action intent on updating itsselling merchandise, and Mr. Punch is very well represented entertainment regulations - withamongst the items in the auction. For the complete online (as they say in press releases forcatalogue go to www.puppetauction.co.uk where you will dire sit-coms) “hilariousalso find out how to register online bids. If you live in a part consequences”. of the world where Mr. Punch collectabilia is scarce - this is the place for you!

Punch and Judy chess set and house sign. Just two of the unusual items in the auction. toby’s tailpiece

There has been a dearth of practical information submitted for publication recently - but Profs everywhere will be delighted to know that there is a new source of swazzle tape on the market. ‘HERRINGBONE’ SWAZZLE TAPE Herringbone pattern cotton twill tape, widely regarded as the easiest type to work with and produce an excellent tone. Two types available, ‘Ecru’ unbleached and ‘White’ bleached. The white is slightly easier to work with, the Ecru may produce a deeper tone. The Ecru has been treated and can be boiled to make it more absorbent.

Now available, 4 yards of tape (2 of White 2 of Ecru) plus swazzle making tips leaflet: £3.20 inc P&P. (UK) Overseas enquiries to the address below or email [email protected]

Les Clarke, 30 Brook Terrace, Slaithwaite, Huddersfield, West Yorks, HD7 5BU Cheques payable to L. Clarke.