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Dolls and Puppets.Pdf Dolls and Puppets: Contemporaneity and Tradition Dolls and Puppets: Contemporaneity and Tradition ed. by Kamil Kopania Reviewers: Dr. John Bell - Associate Professor, Dramatic Arts Department University of Connecticut; Director of Ballard Institute and Museum of Puppetry Prof. Florian Feisel - Staatliche Hochschule für Musik Dolls and Puppets: und Darstellende Kunst Stuttgart Proofreading: Dr. Timothy Williams Contemporaneity Layout, typesetting and cover design: Jacek Malinowski Copyright © 2018 by Kamil Kopania Copyright © 2018 by the Publisher and Tradition Publisher: The Aleksander Zelwerowicz ed. by Kamil Kopania National Academy of Dramatic Art in Warsaw The Department of Puppetry Art in Białystok Sienkiewicza 14 Str. 15-092 Białystok, Poland www.atb.edu.pl Print and binding by: EPEdruk Sp. z.o.o. www.epedruk.pl Print run: 300 ISBN: 978-83-88358-02-9 Dolls and Puppets: Contemporaneity and Tradition ed. by Kamil Kopania The Aleksander Zelwerowicz National Academy of Dramatic Art in Warsaw (The Department of Puppetry Art in Białystok) Table of Contents Kamil Kopania – Institute of Art History of the University of Warsaw / The Aleksander Zelwerowicz National Academy of Dramatic Art in Warsaw – The Department of Puppetry Art in Białystok, Poland Introduction 6 Pia Banzhaf – Queen’s University at Kingston, Ontario, Canada The Ontology of the Puppet 8 Fahimeh Mirzahosseini – Tehran Art University, Iran The Study of Reception Process of Children Aged Six to Eight Years, in Theatre, Based on Reception Phenomenological Approach 28 Insa Fooken, Jana Mikota – University of Siegen, Germany “Help me to see beyond”: Dolls and doll narratives in the context of coming of age 36 Tenna Rhiger – Aarhus Universitet, Denmark How Puppetry can Assist Pastors in Obtaining a Greater Understanding of their Liturgical Practice 54 Pieter Bezuidenhout – Independent scholar, South Africa Handspring Puppet Company: An international South African puppet phenomenon 70 Bett Pacey – Tshwane University of Technology, South Africa Multi-media Performance: Two puppetry productions by the Handspring Puppet Company based on Italo Svevo’s La Conscienza di Zeno 80 Matt Smith – University of Portsmouth, United Kingdom Hand to Hand: The dynamic situation of applied puppetry 88 Mienke Fouché – Tshwane University of Technology, South Africa Design and Construction of Fantasy Marionettes through the Study of Animal Anatomy and Movement 94 Emin Artun Özgüner – Royal College of Art, London, United Kingdom Desire / Screen / Look Relationship in the Making of a Doll: the case study of a personal experience 114 4 Roberta Hofer – University of Innsbruck, Austria “It’s a set! It’s a show! Everybody’s watching you!” Human Puppets and Real-Life Marionette Stages in Film 122 Grace Brockington – University of Bristol, United Kingdom Puppetry and Ambivalence in the Art of Paul Nash 140 Izabela Kopania – Institute of Art, Polish Academy of Sciences, Warsaw, Poland Doll as Document. Research on Folk Culture and Building an Archive of Polish Ethnography before 1939 156 Magdalena Piecyk – Cardinal Stefan Wyszyński University in Warsaw, Poland History of Japanese Ningyo from the Edo Period: the art of the Japanese dolls, their role and meaning in society 172 Jana Ryndová – National Gallery in Prague, Czech Republic Minamoto no Yoshitsune, Japanese Puppetry (Bunraku) and Graphic Art in the Collection of the National Gallery in Prague 190 Poupak Azimpour Tabrizi – University Of Tehran, Iran Handmade Dolls of the Iranian Nation, the Representatives of Culture and Civilization 204 Lenka Gyaltso – National Gallery in Prague, Czech Republic Losel Dolls 212 Marta Branco Guerreiro – Museu da Marioneta, Lisbon, Portugal Marionetas de São Lourenço: The puppet as an artistic object, from the stage to the museum 232 Teodora Vigato – University of Zadar, Croatia Croatian Folk Puppeteering 250 Zdenka Đerđ – University of Zagreb, Croatia Theatre of Freaks by Zlatko Bourek 260 Illustrations 277 5 Kamil Kopania – Institute of Art History of the University of Warsaw / The Aleksander Zelwerowicz National Academy of Dramatic Art in Warsaw, The Department of Puppetry Art in Białystok, Poland Introduction The book you hold in your hands is the last of the collection of three volumes I have edited and published over the last three years. They are devoted to broadly understood issues relating to dolls and puppets, their history, theory and practice. My aim was to gather scholars from all around the world, from different countries, universities, museums and research institutions, representing different scholarly attitudes, employing different methodologies and viewing the subject from different angles, who would analyze selected aspects related to the history of dolls and puppets, as well as to their place in contemporary culture. The response was, to say the least, highly satisfactory. Almost fifty scholars came to Białystok, Poland, and presented their papers at the conference Dolls and Puppets as Artistic and Cultural Phenomena, organized in 2014 by the Department of the Puppetry Art of the Aleksander Zelwerowicz National Academy of Dramatic Art in Warsaw1 and the Institute of Art History of the University of Warsaw. As usually happens, not all speakers contributed articles to the conference proceedings, but at the same time, many scholars who had not participated in the conference expressed their interest in the project and answered my call for papers for the planned publication. In the end, I managed to gather over forty articles, written by authors from Belgium, Canada, Chile, Croatia, Cyprus, Czechia, Denmark, France, Germany, Holland, Hungary, Iran, Poland, Portugal, Serbia, South Africa, Switzerland, Turkey, 1 The Department of the Puppetry Art is located almost 200 km from Warsaw, in Białystok, in northeastern Poland. This is due to the fact that Białystok has had a strong and vibrant artistic milieu of puppeteers 6 associated with the Białystok Puppet Theatre (Białostocki Teatr Lalek) as well as other theatres operating in the city and the region of Podlasie. Their achievements and efforts resulted in the creation – and now further development – of the Department of Puppetry Art there. the United States and Great Britain. It seemed reasonable to me that given the number and variety of articles, three separate volumes, covering different thematic areas, should be released. The first volume – Dolls and Puppets as Artistic and Cultural Phenomena (19th – 21st Centuries) – published in 2016, contains studies in the fields of art history, theatre history, and cultural and social history, analyzing long- standing and rich practices of using dolls and puppets as a metaphor, as artistic material or as a vehicle for expressing an artistic sensibility or various sets of beliefs and opinions in the past 120-odd years. The second volume – Dolls, Puppets, Sculptures and Living Images. From the Middle Ages to the End of the 18th Century – published in 2017, offers articles proving that dolls and puppets have constituted an important component of religious practices and the daily life of the aristocracy and lower classes, as well as a substantial mode of expression for artists in medieval and early modern times. The articles gathered in Dolls and Puppets: Contemporaneity and Tradition are concen- trated mainly on three issues: 1) contemporary puppetry, 2) dolls and puppets in European collections, 3) dolls in ethnographic contexts. As an added delight, the reader will find two articles in the field of art history and film studies. I hope this volume will encourage you to look into the two previous books. Let dolls and puppets always be with us! 7 Pia Banzhaf – Queen’s University at Kingston, Ontario, Canada The Ontology of the Puppet The majority of articles in this volume colourfully illustrate the current scholarly approaches to puppets. Whether we study puppetry at the intersection of areas that encompass puppets as metaphors in performing and visual arts, literature, and politics; puppets in certain time periods of art history or ethnographical context; puppets in the practice of one specific artist or company; or puppets as educational and therapeutic tools, we apply taxonomies1 to puppets and puppetry that are derived from our many respective disciplines. Despite this cornucopia of approaches, however, we still fail to sufficiently illuminate the fundamental reason for the fascination and the dread that puppets can arouse, which may explain the particular place puppetry has held for millennia in the fabric of cultural expression. Whether watching puppets as an audience or studying them from a scholarly perspective, the features that immediately jump to mind are their inanimate and animate aspects. This dichotomy is especially pronounced in the modernist Western gaze. It is this modernist way of perceiving, which attempts to separate culture and nature and compels us to tidily sort people and things into different boxes, that has come to dominate the scholarly world in more areas than we would care to admit. Based on Cartesian principles, 1 These taxonomical approaches evoke the fictitious taxonomy in Jorge Luis Borges’ essay “The Analytical Language of John Wilkins” (1942), which he claims to have found in a taxonomy in a Chinese encyclo- paedia referenced by Fritz Kuhn under the title “Celestial Emporium of Benevolent Knowledge.” Here, Borges writes, “all animals are divided into 14 categories: In its remote pages it is written that the ani- mals are divided into (a) those that belong to the emperor,
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