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Garlic Theatre 12 Horse and Bamboo Theatre 13 Norwich Puppet Theatre 14 Movingstage Marionette Co www.unima.de Das andere Theater 64 · UNIMA-Zentrum Deutschland · 16. Jahrgang 2006 · Einzelpreis 6,- € 64 Editorial Puppetry in the UK yearbook were contacted and invited to contribute. Un- fortunately, only one third came back to us, so the images Since the UNIMA congress in Rijeka in 2004, our maga- we have been able to publish do not provide a complete zine has spotlighted a different UNIMA country in a picture. special issue each year. After featuring Poland and the Netherlands, this time we are pleased to present an over- In one section, we feature individual companies who view of puppetry activities in the UK. kindly wrote articles for us or responded to our email in- terview. Those theatres are from many different regions The historical introduction is in three parts – from the with various main interests: theatre for 6 month to 2 year beginnings through to the last century and up to the pre- old children or for children and teenagers with disabilities, sent day. Glyn Edwards introduces us to the traditional theatre with educational programmes, visual theatre, puppet show Punch and Judy, which still exists in the theatre for adult audiences, with film and projection, hands of some practitioners as a vital and authentic expe- street performances, specific venues, companies with their rience today. Other articles give an overview of the Scot- own venue, shadow players and paper theatre… tish scene and their puppet animation festival as well as TV puppetry before and after Spitting Image. We hope to give you a stimulating insight into puppetry activities in the British Isles. If you are interested and want You will find further information about academic training to see more for yourself, we would recommend that you opportunities, organisations and festival structures, partly start by visiting the puppeteersUK website or contacting in short articles or short contact lists. BrUNIMA representatives. In addition there are images from current companies in the Best regards, the editorial team UK. All companies listed with email in the puppeteersUK Herausgeber: Das andere Theater Impressum Union Internationale de la Marionnette (UNIMA) ist das offizielle Mitteilungsblatt der UNIMA, Zen- Zentrum Bundesrepublik Deutschland e.V. trum Bundesrepublik Deutschland e.V. mit Deut- c/o Theater der Nacht, Obere Str. 1, 37154 Northeim schem Bund für Puppenspiel. Tel: 0049 (0) 5551-9080779 (Di 14.00–19.00 Uhr) Die Bezugsgebühr ist im Mitglieds-/Abo-Beitrag ent- Fax: 0049 (0) 5551-919059 halten. [email protected], www.unima.de Im Interesse möglichst aktueller Informationen bit- Redaktion: tet die Redaktion um rechtzeitige Zusendung von Christiane Klatt, Anthony Gaughan, Stephan Terminen, Ankündigungen etc. Nachdruck nur mit Wunsch, Silke Technau, Stephan Schlafke Genehmigung der Redaktion. Alle Angaben ohne c/o Stephan Schlafke, Sanderstr. 26, 12047 Berlin, Gewähr. Keine Haftung für eingesandtes Material. [email protected] Die namentlich gekennzeichneten Beiträge geben nicht unbedingt die Meinung des Herausgebers wie- Übertragungen aus dem Englischen: der. Die nicht mit Fotografen benannten Fotos stam- Anthony Gaughan, Christiane Klatt, Ingrid Paasche men aus Programmheften ohne Angaben oder wur- Layout und Satz: den von den Theatern zur Verfügung gestellt. Martin Labedat, [email protected] Redaktionsschluss DaT 65: 15. Februar 2007 (Erscheinungsdatum März 2007) Druck: Pachnicke-Druck, Göttingen, Druckauflage: 1.000 ISSN 0944-2324 Bankverbindung: Frontpage: "Wriggling Figure", Stephen Mottram UNIMA-Zentrum BRD e.V. Photo: Simon Annand Konto-Nr. 473 999 00, BLZ 260 612 91 Backpage: The Cleaner in "Low Life", Blind Summit, 2 Volksbank Eichsfeld-Northeim eG Photo: Nick Barnes content Editorial 2 Meg Amsden BrUNIMA 4 Puppetry in Great Britain Glyn Edwards British Puppetry to 1925 4 Ray DaSilva From 1925 to 2000 5 Clive Chandler Overview of the contemporary scene 7 Susanne Forster, George Speaight John Wright’s 100th birthday 11 Individual Company Features Little Angel Theatre 12 Garlic Theatre 12 Horse and Bamboo Theatre 13 Norwich Puppet Theatre 14 Movingstage Marionette Co. 15 Oily Cart 16 Jacolly Puppet Theatre 17 The Wright Stuff Theatre of Puppets 18 Green Ginger 19 Blind Summit 20 doo-cot 22 Faulty Optic 22 Stephen Mottram 23 Ruffege Shadow Theatre 24 New Model Theatre 25 Theatre-rites 26 Forkbeard Fantasy 26 Impressions of British puppeteers 27 Glyn Edwards Punch & Judy yesterday, today and tomorrow 30 Simon Buckley TV Puppetry in Britain 34 Matthew Isaac Cohen Puppetry in Higher Education 35 Simon Hart Puppets in Scotland 36 Anthony Gaughan Visit to the Puppet Centre Trust Interview with Peter Charlton, president of BPMTG 38 Organisations, Festivals and Museums 39 3 Puppetry in Great Britain British Unima in 2006 British UNIMA is in an unusual position compared to – see our website www.unima.org.uk. As a result of these many other centres in that we are only one of several pup- changes, we have increased our membership and now petry organizations in Great Britain, all of which are ser- have a younger average age! ved by an umbrella organization - Puppeteers UK (of which we are a founder member). Because of the remar- Our General Secretary Diana Bayliss has had to retire kable networking and information PUK provides for na- recently, but (I’m glad to say) will remain on the Commit- tional companies and events, we are able to concentrate tee. Our new Secretary is Miriam Murtin, who joined the mainly on international puppetry matters. We also have a Palatine programme at Lancaster University as a Research comparatively small membership and do not currently Assistant in February 2004. Her interests include film- organize events, other than our AGM day and annual making, theatre in education, puppetry, stand-up come- John Phillips Memorial Lecture. dy, site-specific theatre, choral singing and animation. She also works as a freelance translator of Dutch. When I became chair of BrUNIMA in 2000, we had just completed a membership survey that showed that Our last event was an afternoon and evening of puppet most of our members were over 50, which is not a very shows and the AGM, in Preston, Lancashire on Thursday healthy situation. We decided to reform ourselves in order October 26th (in association with the Charter Theatre, to attract a larger number of young members. We recrui- DNA, and Horse and Bamboo). ted some younger people onto our Board, commissioned Please contact me: [email protected] or Miriam: in- a website and two years ago launched a new puppetry [email protected] if you are visiting the U.K. and would magazine, Puppet Notebook, which is mainly for mem- like to link up with us or our members. bers, but also for anyone with an interest in puppetry. It comes out 3 times a year, is edited by Eleanor Margolies, Meg Amsden, president BrUNIMA and has been an enormous success. Issue no.7 will be out some time in November. We have an increasing number of overseas subscribers, and also have back issues available Puppetry in Great Britain British puppetry to 1925 rectors were Martin Powell of Covent Garden and Char- lotte Charke, firebrand daughter of the Poet Laureate Thanks to the tireless research efforts of the late George Colley Cibber. George Speaight rightly called the 18th Speaight in tracing tantalising images and fragments of century a Golden Age of English puppetry. text, British puppeteers are able to claim a native ancestry for their art form dating back at least seven hundred years. Just as the ancestor of Punch had been first brought to It was not, however, until Ben Jonson’s famous play Bart- England from Italy, so a second wave of Italian players holemew Fair (1614) included a scene featuring a comic brought fresh ideas to England at the end of the 18th puppet show based on the story of Hero and Leander that Century. These Fantoccini shows – as they were known – any full length script was recorded. This puppet play de- also featured a character from the Commedia Dell’ Arte monstrated all the coarse knockabout comic energy at George Speaight dressed as tradition as the star. This time it was a marionette of Har- which hand puppets excel and this legacy has perpetuated Samuel Pepys at the lequin (formerly Arlecchino) who appeared in all manner itself within the Punch and Judy tradition to this day. 1987 Festival celebrating of stories. But whilst Harlequin’s day as a popular figure in Punch’s 325th ‘birthday’ England may be long over, Fantoccini left another legacy In 1662 the ancestor of Punch himself was first recor- which can still be seen. These shows introduced the ever- ded in London (under the name of Policinella) by the di- popular ‘trick puppets’ which – by clever stringing – could arist Samuel Pepys, although the puppet was at this time effect all manner of changes whilst in front of the audi- a marionette with a rod to the head. Punch (who is the ence and are the ancestors of the Puppet Circus entertain- subject of a separate article in this publication) had his ments which still fascinate audiences even in these digital origins in Italy but became the dominant puppet on the days. They are also credited with bringing about the chan- English puppet stage for the following two centuries, earning his place as a key character in the nation’s popular geover by puppeteers in England from marionettes which culture. used a rod to the puppet’s head to ones using strings alone, as this facilitated the possibilities of ever more ingenious In addition to the touring puppet shows which perfor- transformations. med at the various great Fairs of the era, the 18th century saw the development of a number of building based pup- Along with Fantoccini came Ombres Chinoises (Eng- pet theatres in London.
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