Windows to Imagination : the Art of Puppetry
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Puppetry in the 21St Century: Reflections and Challenges
Puppetry in the 21st Century: Reflections and Challenges Edited by Marzenna Wiśniewska and Karol Suszczyński The Aleksander Zelwerowicz National Academy of Dramatic Art in Warsaw Branch Campus in Bialystok, Puppet Theatre Art Department Puppetry in the 21st Century: Reflections and Challenges Puppetry in the 21st Century: Reflections and Challenges Edited by Marzenna Wiśniewska and Karol Suszczyński Reviewer: Prof. Ida Hledíková, Ph.D., The Academy of Performing Arts in Bratislava, Faculty of Theatre Proofreading: Timothy Williams, Ph.D. Layout, typesetting and cover design: Jacek Malinowski On the cover: graphic by Grzegorz Kwieciński from the performance Ręce [The Hands], Teatr Ognia i Papieru (1980) All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording or in any information storage or retrieval system, without permission in writing form the publishers. Copyright © 2019 by Marzenna Wiśniewska and Karol Suszczyński Copyright © 2019 by the Publisher Free e-book version Publisher: The Aleksander Zelwerowicz National Academy of Dramatic Art in Warsaw Branch Campus in Bialystok, Puppet Theatre Art Department Sienkiewicza 14 Str. 15-092 Bialystok, Poland https://atb.edu.pl ISBN: 978-83-88358-07-4 Puppetry in the 21st Century: Reflections and Challenges Edited by Marzenna Wiśniewska and Karol Suszczyński The Aleksander Zelwerowicz National Academy of Dramatic Art in Warsaw Branch Campus in Bialystok, Puppet Theatre Art Department Table of Contents Marzenna Wiśniewska, Karol Suszczyński Introduction 7 Part 1: Being an Artist of Puppet Theatre Marek Waszkiel Puppeteer: Craftsman, Actor or Creator? 12 Marzenna Wiśniewska Performers in Polish Puppet Theatre 18 Miyako Kurotani Searching for Traces of Life in Lifeless Things 32 Oriane Maubert Puppet and Dancer, Choreography of Object-body: Meeting, Control and Vertigo 38 Zofia Smolarska Towards Sustainable Change. -
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. -
Translating Expertise Across Work Contexts: U.S. Puppeteers Move
ASRXXX10.1177/0003122420987199American Sociological ReviewAnteby and Holm 987199research-article2021 American Sociological Review 2021, Vol. 86(2) 310 –340 Translating Expertise across © American Sociological Association 2021 https://doi.org/10.1177/0003122420987199DOI: 10.1177/0003122420987199 Work Contexts: U.S. Puppeteers journals.sagepub.com/home/asr Move from Stage to Screen Michel Antebya and Audrey L. Holma Abstract Expertise is a key currency in today’s knowledge economy. Yet as experts increasingly move across work contexts, how expertise translates across contexts is less well understood. Here, we examine how a shift in context—which reorders the relative attention experts pay to distinct types of audiences—redefines what it means to be an expert. Our study’s setting is an established expertise in the creative industry: puppet manipulation. Through an examination of U.S. puppeteers’ move from stage to screen (i.e., film and television), we show that, although the two settings call on mostly similar techniques, puppeteers on stage ground their claims to expertise in a dialogue with spectators and view expertise as achieving believability; by contrast, puppeteers on screen invoke the need to deliver on cue when dealing with producers, directors, and co-workers and view expertise as achieving task mastery. When moving between stage and screen, puppeteers therefore prioritize the needs of certain audiences over others’ and gradually reshape their own views of expertise. Our findings embed the nature of expertise in experts’ ordering of types of audiences to attend to and provide insights for explaining how expertise can shift and become co-opted by workplaces. Keywords expertise, audiences, puppetry, film and television Expertise has become a fundamental currency of cases (Abbott 1988:8). -
Explorations Into Shadow Theater
ExplorationsintoShadowTheater: AnInstructionManualfromShadowLightProductions byRamonAbad Shadowsareeverywhere.Wherethereislight,thereareshadows.Absolutelyanything solid,placedinlight,willcastashadow.Shadowsareasnaturalasclouds,streamsand lightning.Howhavepeopleinterpretedshadows?Nowthat’swhereitgetsreallyinter- esting! InWesternsociety,weassociateshadowswithmenacingqualities.Inourliterature, moviesandTV,villainsandmonstershideinthedark,crouchintheshadows,runfromthe lightoftruth.Eventheprotagonistofthe1920sradioplayTheShadowisanelusive, phantomcharacterwhoavengescrimebymysteriouslyappearingfromtheshadows. Bycontrast,numerousculturesaroundtheglobehavelongusedshadowstoexpress heroism,redemptionandhumorintheirartandentertainment.Theoldestandmost popularmediumtoemployshadowsinthiswayisshadowpuppetry. Shadowpuppetryisanancientartformthatstillthrivesinmanypartsoftheworld.There are,todate,onlytwowaystoperformshadowtheater: •thetraditionaltraditionalway-puppetsareheldupagainsttheperformancescreen, •themodernprojectedmodernprojectedway-shadowsarecastutilizingthespacebetweenthelight sourceandthescreen. Themaindifferencebetweenthesemethodsisthetypeoflightsourceusedandthesizeof shadowsproduced.Eachapproachhasitsownpossibilitiesandlimitations. Thereissomeliteratureavailableonshadowpuppetry,butnearlyallofitcentersonthe traditionalmethod.Whattheaudienceseesinmostshadowtheaterperformancesarethe silouettesofpuppetspressedupagainstascreenwithalightnotmorethat1’away.Pro- jectedshadowtheater,ontheotherhand,involvesusingasource3’to20’awayfromthe screen,andpuppetsoractorsactuallycastingshadowsontothescreenfromsomepointin -
The Jim Henson Company Honors Founder Jim Henson's 85Th Birthday
FOR IMMEDIATE RELEASE Contact: Nicole Goldman [email protected] The Jim Henson Company Honors Founder Jim Henson’s 85th Birthday Company Offers Fun Ways to Celebrate Throughout the Month of September Hollywood, CA (September 7, 2021) – This September, fans around the world, and across social media, will honor the 85th birthday of innovative and inspiring puppeteer, director, and producer Jim Henson (b.9/24/1936). Founded by Jim and Jane Henson in 1955, The Jim Henson Company, continuing its legacy with projects like The Dark Crystal: Age of Resistance, Dinosaur Train, Word Party, and the upcoming Fraggle Rock reboot, is sharing lots of ways to celebrate through partnerships and social media (#JimHensonBirthday). • NOOK by Barnes & Noble Features an eBook for Everyone Barnes & Noble is offering a wide collection of eBooks like Jim Henson’s classic Fraggle Rock, as well as contemporary titles including Dinosaur Train, Word Party, Sid the Science Kid, and many more through its Free NOOK Reading Apps (iOS and Android) and NOOK Tablets. Preorder now and save with special limited-time only pricing. Visit here to start exploring. • Sony and Fathom Events Welcome Fans to Labyrinth Sony has released a new 4K Ultra HD limited edition of Jim Henson’s fantasy classic Labyrinth, featuring extras including audition footage for the role of Sarah, and never before seen deleted & alternate scenes. Fathom Events is celebrating the 35th anniversary of the film and Henson’s birthday with in-theater screenings on September 12, 13 and 15th. Get your tickets here. Order your collectible 4K Ultra HD here. • Fraggle Rock partners with Waze Your commute in Outer Space is an amazing adventure when Red is your co-pilot on Waze! Silly Creatures will be able to customize their vehicles to look like Doozer trucks and hear Red Fraggle give directions during their journey. -
Indonesian Stories and Art Primary Education Resource
Indonesian Stories and Art Primary Education Resource 1 CONTENTS 3 Indonesian stories 3 Mahabharata 4 Ramayana 5 Relevant works of art 5 Indonesian textiles 10 Batik technique 11 Wayang puppets 13 Indieguerillas 14 Indieguerillas colouring sheet Javanese people Ceremonial cloth [kain batik] [or possibly a nobleman’s skirt cloth] late 19th century (detail), cotton, natural dyes; hand-drawn batik, 106.5 h x 260.0 w cm, National Gallery of Australia, Canberra, purchased 1984. 2 INDONESIAN STORIES Mahabharata When Bima and his brothers (the Pandawa) are tricked by their cousins (the Kaurava) during a dice game The art of Indonesian textiles and puppet theatre has The Mahabharata is a story about the struggle for and sent into exile, Bima decides to establish his own traditionally depicted episodes from the ancient Hindu power between two groups of cousins, the Kaurava kingdom in the forest of Marta. Unfortunately Marta epic poems the Ramayana and the Mahabharata. and the Pandawa. In the story, the Kaurava succeed is inhabited by frightening spirits and ogres, ruled by a in tricking their cousins into betting their kingdom in a powerful king. Bima’s brother, Arjuna, follows him into game of dice. The Pandawa lose and are sent into exile the forest to protect him. Bima begins felling trees in the for thirteen years, but on their return, the Pandawa are forest but as one tree falls another rises in its place. determined to win back their kingdom and they wage The powerful King of Ogres consumes human flesh and war against the Kaurava. The conflict carries on for so finds great joy in human sorrow. -
Turkish Shadow Puppetry and the Carnivalesque Anna (Raff) Miller New York University, [email protected]
Western University Scholarship@Western Modern Languages and Literatures Annual Good Laugh Bad Laugh Ugly Laugh My Laugh Graduate Conference (March 1-3, 2013) Mar 1st, 3:00 PM - 3:20 PM Turkish Shadow Puppetry and the Carnivalesque Anna (Raff) Miller New York University, [email protected] Follow this and additional works at: https://ir.lib.uwo.ca/mllgradconference Part of the Comparative Literature Commons, Near Eastern Languages and Societies Commons, and the Theatre and Performance Studies Commons (Raff) Miller, Anna, "Turkish Shadow Puppetry and the Carnivalesque" (2013). Modern Languages and Literatures Annual Graduate Conference. 4. https://ir.lib.uwo.ca/mllgradconference/2013Conference/MLL2013/4 This Event is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Modern Languages and Literatures Annual Graduate Conference by an authorized administrator of Scholarship@Western. For more information, please contact [email protected], [email protected]. 1 Karagöz and the Carnivalesque Anna (Raff) Miller New York University It was nighttime in Istanbul. Women, children, and men of all professions and class sat together facing a white cotton screen held up by a wooden frame in anticipation of a Karagöz performance. Among them were several European travelers who, having toured the city, decided they wanted to see the famous shadow puppetry for themselves. The lights in the area were suddenly extinguished; with the light of one olive oil lamp, the screen began to glow. An orchestra of drums, a string instrument, a flute, and a triangle sounded “quavering sounds, [that] enchant[ed] the Eastern ear, but which nearly [drove] the European listener mad. -
The Power of Puppets
In RevIew ScholarShip The Power of Puppets Professor Kenneth Gross explores the theatrical power or “puppet ruler.” But such contempt often pushes away a strange power that people of puppets to “bring a part of us back to play.” feel in the puppet. Interview by Husna Haq theater, a remnant of the Communist era. You introduce a sense of morbidity to pup- It was like returning to a small piece of the petry, writing that puppets are “the clos- Puppetry isn’t simply child’s play. former East Germany. This was in a grim est thing we have in the ordinary human While American audiences may be more and bereft part of the city, a very small the- world to the transmigration of the soul.” familiar with hyperactive Sesame Street ater space, and I remember seeing things In some cultures, for instance in Bali, pup- characters and a “Disneyfied” version of that ranged from creepy children’s shows pets spring from death, revivifying depart- Pinocchio, the puppet in societies across to a remarkable version of King Lear—a ed souls, ancient heroes as well as gods and the world has played the role of provo- solitary human actor as the king among a clowns. In a sense, they mediate between cateur, historian, clairvoyant, and keeper world of puppets—with a mixed audience the living and the dead. Puppets were of- of the faith, says Kenneth Gross in a new of young artists, children, and old inhab- ten used as a means of communication with book, Puppet: An Essay on Uncanny Life itants of East Berlin. -
Center for Puppetry Arts Unveils Plans for Dramatic Expansion Project Project Highlights Include New Museum, Featuring World's
FOR MORE INFORMATION: Jennifer Walker BRAVE Public Relations, 404.233.3993 [email protected] Center for Puppetry Arts Unveils Plans for Dramatic Expansion Project Project highlights include new museum, featuring world’s largest collection of Jim Henson puppets and artifacts. ATLANTA (January 14, 2014) – Center for Puppetry Arts officials announced today details on the organization’s highly anticipated renovation and expansion plans. The project, set to be completed in 2015, will include a new museum, with a Global Collection and the world’s most comprehensive collection of Jim Henson’s puppets and artifacts. Project highlights also include a new library and archival space, a renovated entryway and many other upgrades to existing spaces that will ultimately enhance the experience for Center for Puppetry Arts’ visitors. As the nation’s largest nonprofit dedicated to the art of puppetry, these updates will allow the organization to continue to touch even more lives through the art of puppetry while giving guests a new appreciation for the global scope and universal power of the art form. As part of the project, the Center is protecting and preserving hundreds of international and Henson treasures for future generations to explore and understand. In 2007, Jim Henson’s family announced a momentous gift of puppets and props to the Center for Puppetry Arts. Approximately half of the expanded museum space will be dedicated to the Jim Henson Collection, which will feature recognizable puppets from Sesame Street, The Muppet Show, Fraggle Rock, The Dark Crystal and Emmet Otter’s Jug-Band Christmas. Featured icons will include Miss Piggy, Kermit the Frog, Fozzie Bear, Big Bird, Elmo, Grover, Bert, Ernie and many more. -
Finding Aid to the Historymakers ® Video Oral History with Kevin Clash
Finding Aid to The HistoryMakers ® Video Oral History with Kevin Clash Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Clash, Kevin Title: The HistoryMakers® Video Oral History Interview with Kevin Clash, Dates: September 21, 2007 Bulk Dates: 2007 Physical 6 Betacame SP videocasettes (2:37:58). Description: Abstract: Puppeteer Kevin Clash (1960 - ) created the character Elmo on Sesame Street. A multiple Emmy Award-winning puppeteer, he also performed on the television programs, Captain Kangaroo, and Dinosaurs, and in the films, Teenage Mutant Ninja Turtles, and Muppet Treasure Island. Clash was interviewed by The HistoryMakers® on September 21, 2007, in New York, New York. This collection is comprised of the original video footage of the interview. Identification: A2007_268 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Children’s educational puppeteer Kevin Clash was born on September 17, 1960 in Turner’s Station, a predominantly black neighborhood in the Baltimore, Maryland suburb of Dundalk, to George and Gladys Clash. In 1971, at the age of ten, Clash began building puppets, after being inspired by the work of puppeteers on the Sesame Street television program, a passion that stuck with him throughout his teen years. His first work on television was for WMAR, a CBS affiliate that produced a show entitled Caboose. Clash also performed a pelican puppet character for the WTOP- TV television program Zep. In his late teens, Clash met Kermit Love, a puppet designer for the Muppets, who arranged for Clash to observe the Sesame Street set. -
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 -
Puppetry and Art Education: a Personal Journey Buffy Serene Quintero University of Iowa
University of Iowa Iowa Research Online Theses and Dissertations 2011 Puppetry and art education: a personal journey Buffy Serene Quintero University of Iowa Recommended Citation Quintero, Buffy Serene. "Puppetry and art education: a personal journey." master's thesis, University of Iowa, 2011. http://ir.uiowa.edu/etd/1063. This dissertation is available at Iowa Research Online: http://ir.uiowa.edu/etd/1063 PUPPETRY AND ART EDUCATION: A PERSONAL JOURNEY by Buffy Serene Quintero A thesis submitted in partial fulfillment 1 of the requirements for the Masters degree in Art (Art Education) in the Graduate College of The University of Iowa May 2011 Thesis Supervisor: Professor Steve McGuire Copyright by BUFFY SERENE QUINTERO 2011 All Rights Reserved 1 ! ! "#$%&$'(!)*++(,(! -.(!/012(#31'4!*5!6*7$! 6*7$!)1'48!6*7$! ! ! ! )9:-6;6)<-9!=;!<>>:=?<@! ! AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA! ! B<C-9:DC!-E9C6C! ! AAAAAAAAAAAAAAAAAAAAA! ! ! -.13!13!'*!F(#'154!'.$'!'.(!B$3'(#D3!'.(313!*5! G&554!C(#(0(!H&10'(#*! .$3!I((0!$JJ#*2(%!I4!'.(!9K$L1010,!)*LL1''((! 5*#!'.(!'.(313!#(M&1#(L(0'!5*#!'.(!B$3'(#!*5!! <#'3!%(,#((!10!<#'!N<#'!9%&F$'1*0O!$'!'.(! B$4!PQRR!,#$%&$'1*0S! ! ! -.(313!)*LL1''((T!!AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA! !!!!!!!!!!!!!!! ! ! ! ! ! !!!C'(2(!BF"&1#(8!-.(313!C&J(#213*#! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!:$F.(+!U1++1$L3!