STUDY GUIDE AND RESOURCE MATERIALS for teachers and students 14@

Bibliography of Puppetry compiled by Judith O’Hare, Director Puppets: Education Magic Basic Hand Puppet Pattern courtesy of The Puppet Showplace, Inc., Brookline, MA Perseus and Medusa

A tale from Ancient Greece presented by Tanglewood Marionettes GENERAL INFORMATION for teachers and students

THE PRODUCTION: THE MARIONETTES: Perseus and Medusa took over a year to build. Here are The heads and hands of the human marionettes were first some of the things we did, in chronological order: sculpted in clay, then cast in plaster. When the plaster molds were dry, the clay was removed and a liquid called We decided we wanted to create a puppet neoprene was poured into the show based on the Greek myth of “Perseus”. Marionette is a French word that mold. After about twenty-four We read many different versions of the myth to means “Little Mary”. In the early hours, the neoprene hard- help us decide which parts we wanted to days of Christianity, string puppets ened. The molds were were used to act out biblical stories. opened and the heads and include in our version. These stories were often about Mary, We developed a plot, or storyline, for our the mother of Jesus. People began hands were gently pulled out. production. calling the string puppet representing Each head and hand was then We sketched each scene in sequence, so Mary a “marionette”, or “Little Mary”. coated with gesso, sanded Soon the word became associated carefully, and painted with that we could envision the play. This is called with all string puppets. making a storyboard. acrylic paints. We hired a writer to adapt the Perseus myth The torsos for the human into a script for our puppet show. characters were made from foam blocks glued to a wooden We designed and built the marionettes, props, armature. The puppets in this play are quite large, and are scenery and special effects. (This part took consequently quite heavy. To lighten the puppets as much six months!) as possible, we hollowed out many of the arms and legs. We designed the lighting effects for the show. We hired actors and recorded the dialogue There are several “creature” puppets in this show, each (what would become the puppets’ voices) at a one of which presented its own set of challenges during the sound studio. construction phase. The dog puppet Cerberus needed We mixed music and sound effects into the enough room in front of his forelegs to accommodate three recorded voices. heads; Medusa needed a relatively fool-proof trick mecha- We put it all together and rehearsed the per- nismto allow her head to separate easily from her body, formance every day for three weeks. and we needed to figure out how to “pass” the Eye from one Gray Sister to the next. When you watch the perfor- Phew! As you can see, sometimes a lot goes into making mance, see if you can figure out how we met these design a puppet show! challenges!

THE SETTING: After the human puppets were costumed, strings were attached to their heads, chins, shoulders, backs, elbows, The scenery for this play is in the form of a giant scroll. hands, and legs. The strings were then tied to the control. We wanted to use a scrolling set so that it would be in Next, the strings were adjusted in length, or keeping with the “ancient world” theme, and also because “tuned” until the puppet felt balanced. we wanted to experiment with some of the motion effects that are possible with a side-scrolling set. The mechanism that works the scroll took several months to work out: the scroll is hand-cranked around two hollow tubes which turn on swiveling plates. As the play progresses, each new scene is scrolled into view. After seeing the show, try to remember how many different scenes were in the play. Perseus and Medusa

STORY SYNOPSIS

In the land of Ancient Greece, on the island of scorned the gift, and crushed it underfoot. At the Prince’s Seriphos, a woman named Danae lived with her son, callous treatment of his family heirloom, Perseus flew into whom she named Perseus. He had never known his a rage and rashly promised to bring the Prince another father, and his mother never spoke of the man, but alone gift – anything the Prince should desire. Sensing his she raised her son well among the simple fisherpeople by opportunity, the Prince bid Perseus bring him the head of the shore of the Aegean Sea. Though Perseus was poor, the Gorgon, Medusa, knowing full well that such a quest would almost certainly end in death for Perseus. Perseus agreed to bring Polydectes the Gorgon’s head. Later, Perseus lamented his foolish promise to the Prince, for he knew as well as any the danger that faced him. Suddenly, from out of the clouds above, a majestic figure appeared. It was Athena, Goddess of Wisdom, there to help Perseus in his quest. She gave to him a pair of winged sandals that would allow him to fly. Athena also advised Perseus to seek the council of the Gray Sisters, as they had crucial information that Perseus would need to accomplish his goal. She told him that the Gray Sisters could be found in the far Frozen North. Perseus thanked Athena for her help, and winged his way swiftly northward. The Frozen North is a cold and inhospitable land of crags and gullies and snow-capped peaks. Perseus found the Gray Sisters, and saw that they had but one eye between them, which they shared by passing from Sister to Sister. When Perseus asked them for the information he needed to defeat Medusa, the Gray Sisters jeered at him and refused to help. Realizing that he needed a bargain- ing chip, Perseus darted in and stole the Eye as it was he grew up strong, intelligent, and fearless. Now, there was another youth on the island who lived a different kind of life. Prince Polydectes was the son of the king. He was terribly proud, and refused to go near the common subjects. Polydectes and Perseus were destined never to cross paths, until the year both boys turned sixteen. That was the year the Panhellenic Games came to Seriphos, and athletes from all over Greece came to the island to com- pete. Since the day he could walk, Polydectes had been trained by the finest coaches for this moment: he planned to win the highest honors at the games on his own home ground, in front of his people. But, since all were allowed to participate, Perseus decided to try his luck. In each event, Polydectes excelled, only to be bested by this poor fisherboy. Polydectes was humiliated, and from that moment on, he swore revenge against the upstart who had stolen his glory... And so it came to be that Prince Polydectes invited Perseus to the palace -- ostensibly in honor of Perseus’s accomplishments at the Games, but in reality to gain his revenge against the unwitting fisherboy. Perseus brought with him a gift for the Prince -- a precious heirloom and his mother Danae’s most prized possession. Polydectes Perseus and Medusa

STORY SYNOPSIS (cont.) being passed from one Sister to another. Terrified that he would destroy the Eye, the Sisters told Perseus that he must go to the Land of the Evening Star, there to find the entrance to the Underworld. It was in the Underworld, they told him, that he would find the Sword of Hades, the one blade sharp enough to cut off Medusa’s head. Perseus returned to them the Eye, and thanked the Gray Sisters for their help. He flew south. After many days travel, Perseus arrived at the Land of the Evening Star. While he was there, he met the nymph Hesperia. Hesperia learned of his quest, and warned Perseus that, as a mortal, if he tried to enter the Underworld to retrieve the Sword of Hades, he would die the instant he set foot inside. Hesperia offered to go in his stead, as she was not a mortal. Perseus accepted her offer, and Hesperia entered the Underworld and retrieved the magical sword for Perseus. Perseus thanked her, and sword in hand, flew away to the land of the Gorgon’s lair. When Perseus finally encountered Medusa, she was more hideous than he could have imagined. Remembering that to lock eyes with Medusa would turn him instantly into stone, Perseus hid behind a statue and used his wits to trick the Gorgon into coming closer. With one sweep of his magic blade, Perseus sev- ered Medusa’s neck. Quickly Perseus flew back to Seriphos. He placed Medusa’s head in a leather sack, for even though she was dead, her eyes still had the power to turn living flesh to stone. Perseus took the sack to the palace, where he tossed it at the feet of Polydectes. Perseus warned the Prince not to open the sack, but Polydectes did not believe that the sack contained the Gorgon’s head. Despite Perseus’s warning, the Prince opened the sack, and was instantly turned to stone. Perseus returned the sword and winged sandals to Athena, and thanked her once again for all her help. From that time forth, Perseus had many more adventures, and eventually became a great king himself. After his death, the gods honored Perseus by plac- ing him up in the sky, in the form of a constellation. Perseus and Medusa PRE-SHOW ACTIVITIES PRESENTATION

A school or class could prepare for the puppet show by designing posters or flyers to be distributed throughout the school. One or two students might observe the puppeteers loading in and setting up the stage, puppets, and equipment. If there is a school publication, an arti- cle could be written describing this “behind-the- scenes” process. One or two students might interview the puppeteers, either for a school publication or a class project. The interview questions should be prepared in advance, with help from the entire class A Spartan Education... if this is a class project. A class discussion about careers in the arts could follow the interview. In ancient Sparta, boys and girls were educated with the aim of producing a well-drilled, highly disciplined military machine. Spartan boys were sent to military Individual classes might talk about what it means to school at the age of 6 or 7. Each boy was assigned to be an audience. be part of a group, or brotherhood. Thereafter, he lived communally with his “brothers” in their barracks, and would continue to eat, sleep, and train in his brother- hood barracks until he reached the age of 60. (Even if they were married, Spartan soldiers did not live with their wives and families, but continued to reside in the TOPICS FOR DISCUSSION barracks. After age 60, a Spartan could retire and return home to live with his family.) School courses for Spartan boys were very hard, and often painful. Reading What is the difference between a “live” performance, and writing, although taught, were not very important to 1. the Spartans. Rather, resilience, physical fitness, self- and a “prerecorded” performance? What are the denial, and the ability to withstand pain and hardship, positive things and negative things about each type of were considered to be much more useful skills for performance? Which type do you prefer, and why? Spartan warriors. Spartan girls also went to school at age 6 or 7. Like the boys, they lived, trained, and slept in their sister- 2. Read at least two other retellings of the Perseus myth. hood’s barracks. It is not known whether or not the Compare and contrast the different versions. After girls’ school was as rigorous or cruel as the boys’ seeing our performance, compare what you have read school, but the girls were taught wrestling, gymnastics, to our version of the story. You will find that we and combat skills. made several changes to the tale. Why do you think we made the changes that we did? 3. Athena, Goddess of Wisdom, makes an appearance in (Students may also wish our show. What other gods and goddesses can you to view the movie “Clash name from Greek mythology? Students could be divid- of the Titans” for yet ed into small groups, where each group draws the another take on the name of a god or goddess from a box. Each group Perseus myth!) could then be responsible for making a commercial or advertisement for that god or goddess, using the teacher’s medium of choice (e.g. a poster advertising Hermes Package Deliveries, or a video commercial promoting Athena’s Wisdom Elixir). Perseus and Medusa

TOPICS FOR DISCUSSION (cont.)

4. Look at a map of Greece. Can you find the island of Seriphos? In our story, Perseus travels great distances in his quest for Medusa’s head. While most of the places that Perseus visited were probably make-believe, they may have corresponded with actual places in the ancient world. Using the following information, students may wish to trace a route that Perseus may have taken in his adventures: An Athenian Education... 1. Some versions of the myth place the Gray Sisters in a At the age of 6 or 7, an Athenian boy was sent mythical land in the far North. to primary school. Teachers at these schools Choose a “hyperborean” location were men who were not very well-educated somewhere northerly, cold, and themselves, had little social standing, and were usually underpaid. The money these teachers mountainous to act as home for made came from tuition fees sent by the parents the Gray Sisters. of the boys they taught. In school, the boys sat 2. The Garden of the on benches while their teacher sat in an arm- Hesperides was said to exist at the chair and dictated the lessons from a book. In foot of Mount Atlas, at the west- ancient Greece, books were rare and expensive, and the boys did not own copies of the books ernmost edge of the world. The they were studying. Instead, lessons were “westernmost edge” of the ancient copied down on wax tablets as the teacher read Greek world may have been the western end of the from the book, to be studied and later commit- Mediterranean Sea. Choose a spot in Northern Africa near the western end ted to memory. In this way, Athenian students of the Mediterranean to serve as a location for the Garden of the would often memorize entire books! Hesperides (or Land of the Evening Star). 3. While nobody really knew where Medusa’s Lair could be found, some historians believe her character was based on an ancient queen who lived on the shores of what was known in ancient times as Lake Tritonis. Lake Tritonis is in modern-day Tunisia. Choose a spot on the shore of Lake Tritonis to serve as a location for Medusa’s Lair. Starting at Seriphos, connect the spots you have chosen in the order that Perseus visited them in his story. Don’t forget to return to Seriphos at the end! Our puppet show presents only part of the Perseus myth. We skipped the part in the beginning which tells how Perseus and his mother, Danae, came to be on Seriphos in the first place. We also did not include the encounter Perseus had with Andromeda on his way home to Seriphos after killing Medusa. Research the parts of the myth that we skipped, and see if you can find out where they took place. Include their loca- tions in your route above. (Teachers: the above may be given to older students as a straight research project. Students, or groups of students, could be asked to research the route that Perseus may have taken in his adventures. Students could plot the route on a map of the world. Materials supporting their plot point choices should be included. ) Perseus and Medusa POST-SHOW ACTIVITIES LANGUAGE ARTS POP QUIZ!

1.) How many different scenes were in the play? 2.) How many different puppets were in the play? 3.) Perseus lives on an island. What is its name? 4.) What did Athena give to Perseus to aid him in his quest? 5.) How did Perseus trick the Gray Sisters? 6.) Where did Hesperia find the Sword of Hades? 7.) What did Perseus do that caused Polydectes to hate him? 8.) Where do the Gray Sisters live?

VOCABULARY LIST

quest Cerberus discus Athena nymph Zeus ancient goddess constellation compete mortal frozen palace proclaim Hermes vagabond Medusa heroic fate guardian

SOME WRITING EXERCISES

1. Write a REVIEW of the puppet show. What was your favorite part? What was your least favorite part? If you didn’t like the show, what changes would you make? If you did like the show, explain why. (Imagine that you are writing your review for a person who has never seen Perseus and Medusa.) 2. Use some or all of the of the VOCABULARY words in sentences. Try to use the word so that a person read- ing the sentence can get an idea of what the word means. Some of the vocabulary words are nouns, some are verbs, and some are adjectives. Can you discover which is which? Use as many of the vocabulary words as you can in a single paragraph. 3. After reading several myths together, students could make a list of common elements of mythology -- or, what do you need in a good myth. Students could then be divid- ed into small groups, and working from their shared lists of common ele- ments, could write an original myth. The myths could be read aloud at the end of the exercise. 4. Perseus is just one among many heroes that populate the Greek myths. After reading several “hero” myths (The Labors of Hercules, Jason and the Golden Fleece, Atalanta, etc.), write an OPINION ESSAY answering the question “What is a hero?”. In your essay, com- pare and contrast “modern-day” heroes with the heroes of Ancient Greece. Perseus and Medusa POST-SHOW ACTIVITIES ART PROJECTS 1. Draw or paint a picture of your favorite CHARACTER in the puppet show.

2. Draw or paint a picture of your favorite SCENE in the puppet show.

3. The opening scene in our puppet production consists of a series of shadow images depicted in the style of ancient Greek vase paintings. Students could be shown several images of Greek vases, after which they could illustrate a segment of a myth using the same artistic vase-painting style. Poster board or construction paper in a variety of earth tones could be supplied, and students could either draw and color in the black silhouettes, or cut them out of black paper and glue them to the background. Ambitions groups could cut out an entire cast of characters from a myth and present a shadow play. A reddish colored translucent piece of fabric with a strong light source behind it could act as the shadow screen. (There are several books about shadow puppetry which could help in the design and construction of the shadow puppets.)

4. Students could design a board game based on the famous adventures of a Greek hero or heroine. Stories rich in details and adventure would make excellent choices for games. Students could design the rule books, game boards, game pieces, dice, etc. Once completed, students could exchange games to play, and evaluate as to ease-of-use, playability, etc. Perseus and Medusa POST-SHOW ACTIVITIES ART PROJECTS (cont.)

5. Throughout the centuries, Medusa has been depicted by artists in many different ways. Sometimes she is shown as a beautiful woman, other times as a hideous monster. Design and draw a Medusa of your own invention. Don’t be afraid to EXPERIMENT! Perseus and Medusa DRAMATIC ARTS

ACTING BASICS

Teachers: write the following words on cards. As you show each card to students, ask them to dramatize the word using gestures, facial expressions, and voices. After the students have reviewed each word as a group, ask volunteers to choose a word from those displayed and dramatize it while others guess which word it is. sad - sneaky - jealous - drowsy - happy - afraid - hopeful - confused spellbound - impatient - angry - bored - hungry - adoring - skeptical

Do the same exercise, but this time, don’t allow students to use their voices when acting out the words. Finally, have a generic mask available, or make a simple mask from a paper plate. Explain that many puppets (ours included!) cannot move their faces and can only have one expression. Ask for volunteers to dramatize some of the same words with a mask. Discuss how gestures can be used by actors (or puppets!) in dramatic performances. MAKE SOME NOISE Warm up your voice by making nonsense sounds. Practice other vocal sounds by making pops, squeaks, hisses, clicks, A Game using Vocal Sound Effects: etc., with your mouth, lips, and tongue. 1. Have two volunteers come to the front of the Create some Character Voices: room. One will stand facing the class/audience. Choose a sentence in a book. Try to read that sen- The second volunteer will stand behind the tence as though you were a: other, with his or her back to the audience. brave hero - jealous queen 2. The class will come up with a title to a story. old woman - little child - ghost teenager - monster - coward 3. The person facing the audience must cre- fairy - evil sorcerer - space alien ate a story from the given title while the other volunteer creates sound effects. The Make some Animal Noises: sound effects can either accentuate the story Roar - squeak - whinny - cheep or encourage it. cluck - caw - grunt - squawk gobble - meow - hoot - bark howl - trumpet - honk - chitter Practice Vocal Sound Effects: Students may wish to do the above activities again, this time with a puppet! Have each Use your voice to sound like: child make a puppet using the included wind - police siren- ocean waves patterns. If a puppet show is to be performed crackling fire - footsteps - rain using the puppets, try to decide on the story and airplane - creaky door - fireworks characters before making the puppets. Perseus and Medusa Resources for Puppeteers

Boston Area Guild of Puppetry (http://www.puppetsbostonguild.org), Chartered Guild of the Puppeteers of America

Puppet Showplace Theater is the home base for BAGOP - see address below. Meetings on every 2ond Sunday every other month beginning in September, discussions of topics relevant to puppetry, show and tell about new puppets, styles,projects, performances, workshops and more. This is an opportunity to meet some of the finest puppeteers and puppetry educators in the country. Call (617)-731-6400.

Puppeteers of America Children’s Re-Source Center Membership Officers 42 Trapelo Road Joyce & Chuck Berty Belmont, MA 02178 PO BOX 29417 617 484-9290 Parma, OH 44129-0417 888-568-6235 Creative Educational Surplus [email protected] 9801 James Circle, Suite C http://www.puppeteers.org Bloomington, MI 55431

YOU AND ME PUPPETS UNIMA-USA Judith O’Hare c/o Vincent Anthony, Gen. Sec. Education Consultant for the Puppeteers of 1404 Spring Street NW America Atlanta, GA 30309-2820 74 Hillcrest Road http://www.unima-usa.org Reading, MA 01867 781-944-0965 Email: [email protected] Other Puppetry pages on the web: www.youandmepuppets.com

http://sagecraft.com Puppet Showplace Theater 32 Station Street Brookline, MA 02146 http://www.tanglewoodmarionettes.com 617 731-6400 http://www.puppetshowplace.org

The Boston Public School Recycle Center 24 Walk Hill Street Jamaica Plain, MA 02130 617 635-8284 TOOLS YOU WILL NEED: 1: This pattern enlarged to fit across the whole page. 2: Scissors to cut paper & felt. 3: A soft pencil or soft white chalk to draw on felt. 4: Needle and thread. 5: Straight pins. BASIC MATERIALS: 1: 2 felt craft squares of the same color OR PUPPET 1/4 yard (9 inches) of felt from a fabric store. 2: 1 white PATTERN felt square. 3: Buttons for eyes 4: Cotton or orlon for stuffing. 5: Yarn for hair. 6: Buttons, feathers, beads, ©1988 PUPPET SHOWPLACE, INC. ribbons, pompoms, lace, trims, scraps of felt, for decoration.

DIRECTIONS FOR THE BODY: 1: Cut out pattern on the line. 2: Place 2 squares of felt neatly together and pin them. 3: Place the pattern on the top. Draw around the pattern. Take away pattern and re-pin the felt with the pins all inside the lines. 4: Cut through both squares of felt 1/8 inch outside the lines. Leave the pins in place. 5: Thread the needle and sew, starting at lower left side of the puppet’s body, with an overcast stitch, using the pencil line as a guide for the needle. Sew around the puppet to the lower right side of the puppet, leaving the bottom open. Remember to knot the thread at the end. 6: Take out the pins. 7: Stuff the head with cotton or orlon. 8: Put your hand inside. (See small sketch above) This is your basic puppet. Think about your puppet character before you make a face for it.

THE FACE: 1: Decide what kind of puppet character you want to make: animal, person, weird creature, who or what? 2: For the whites of the eyes use a quarter for a pattern, place it in the corner of the white felt square and draw around it with the pencil. Draw a second circle next to it. Cut out the circles and sew them to the head of your puppet. Sew through the top felt only. 3: Select buttons for the eyes.. Sew the buttons onto the white circles and the eyes are complete.. Other details may be added. HAIR: Puppet hair may be made of many things: yarn, cloth, cotton, fake fur, ribbons, felt, feathers, string and even curly metal pot cleaners. The one thing that doesn’t make good puppet hair is real looking hair from wigs. For yarn hair, wind yarn around your hand 10 of 15 times, and tie in the middle. Cut the loops. Sew 2 or 3 bunches on the head. Make longer loops for longer hair. Experiment! MAKE PUPPET AT LEAST 1 OR 2 INCHES LONGER THAN THIS PATTERN

PAUL VINCENT DAVIS PUPPET ARTS IS A RESIDENT COMPANY OF THE PUPPET SHOWPLACE THEATER. WALKING BIRD MARIONETTE

MATERIALS AND EQUIPMENT NEEDED Two styrofoam balls or egg shapes, one about 1 1/2” diameter, the other about 2 1/2” diameter Narrow strips of wood (molding works well): one 6” piece and one 4” piece 3” string of plastic beads (these beads, fused to a connecting string, are sold in decorator shops and drapery departments) Masking tape Six 3” lengths of pipe cleaner Felt scraps for making beak and feet Two metal washers, about 3/4” - 1” diameter White glue Two 6” lengths of thick yarn 5 or 6 large, brightly colored feathers Black carpet thread Straight pins Tracing paper Beads, sequins, etc. for features & trim Pencil Hammer and small nails Ruler Large needle CONSTRUCTING THE MARIONETTE

1. Trace the foot and beak patterns, and transfer them to scraps of felt. You will need one beak shape and four foot shapes. Cut these shapes out. In two of the foot shapes, cut holes as indicated by the circle on the pattern. Set the feet and beak aside for now.

2. The beads form the neck which connects the styrofoam head and body. To attach the beads to the styrofoam, wrap a separate pipe cleaner piece 1 1/2 times around each end of the bead chain, as shown, then press the ends of the pipe cleaner pieces into the head and body shapes.

3. Use two straight pins to attach the felt beak to the head.

4. The two pieces of yarn form the legs. Bend a pipe cleaner piece around one end of each leg, as you did with the neck. Slide a felt foot piece with a hole onto the other end of each leg. Then add the metal washers, which give the feet weight and make them easier to control. Pull apart and spread out the end of the yarn piece. Spread glue onto the bottom foot pieces (without holes) and glue each pair of foot pieces together with the washer and yarn in between. PAGE 2

5. Attach the legs to the body by inserting the ends of the pipe cleaners into the styrofoam. Be sure that the feet face forward.

6. Poke feathers into the body shape to form the tail and wings. Make eyes of felt, beads, sequins, etc., and attach them with straight pins.

STRINGING THE MARIONETTE

First, build the control by joining the two strips of wood at right angles as shown, using small nails or tacks.

Cut two 16” lengths of carpet thread, one 10” length, and one 8” length. Use a needle to attach one 16” thread to each foot, making a big stitch and tying it. Bend the two remaining pipe cleaner pieces into “V” shapes and tie one of the shorter threads to each one, as shown. Poke the pipe cleaner with the 10” thread into the body about 2/3 of the way back; poke the pipe cleaner with the shorter string into the top of the head. String placement may be adjusted later for balance.

Attach first the body string, then the head string, then the leg strings to the control as shown, using strips of masking tape. This type of control is called an “airplane” control.

MANIPULATION

Tilt the “wings” of the control to make the puppet walk. Move the head and body by tipping or twisting the “body” of the control. Can you make your puppet dance? Walk up or down stairs? Take a bow? Stamp its foot? Walk backwards? BIBLIOGRAPHY OF PUPPETRY

Compiled by: Judith O’Hare YOU AND ME PUPPETS Director: PUPPETS: EDUCATION MAGIC Education Consultant for the Puppeteers of America 74 Hillcrest Road Reading, MA 01867 (781) 944-0965

Code: * Classic books on puppetry. Many are dated, but they represent the evolution of the art of puppetry.

Arnot, Peter. Plays Without People. Indiana Press. 1964. (Greek classics with marionettes.)

Baird, Bill. The Art of the Puppet. NY: Macmillan Co. 1965 (A must for the library – covers history and development of puppetry as an art form.)

Bartlet, Jeanine. Screen Play, Shadow Puppets on the Overhead Projector. Auburn, WA: Jeanine Bartlet. 1993. (Purchase through Puppeteers of America store.)

*Batchelder, Marjorie. The Puppet Theater Handbook. NY: Harper & Row, Inc. 1947. (She was in the forefront in writing about puppetry in the US.)

*Beaton, Mabel and Les Beaton. Marionettes, a Hobby for Everyone. NY: Thomas Crowell. 1949 reprint 1989. (A clas- sic.)

Blumenthal, Eileen & Julie Taymor. Julie Taymor: Playing with Fire. 1996. (P of A store.)

Bottomley, Jim. Paper Projects for Creative Kids of all Ages. Boston: Little Brown and Co. 1983. (Excellent paper sculpting techniques.)

*Boylan, Eleanor. How to Be a Puppeteer. McCall Press. (She influenced many Boston puppeteers. She is now a novel- ist and lives in Florida, but left a legacy.)

Brown, Jerome. Folk Tales, Paper craft. Belmont, CA: David S. Lake Pub. 1989.

*Bufano, Remo ed. Arthur Richmond. Book of Puppetry. NY: Macmillan. (He was one of the first major U.S. puppet artists who wrote about the art form.)

Champlin, Connie, and Nancy Renfro, illustrations. Puppetry and Creative Dramatics in Storytelling. Austin, TX: Nancy Renfro Studios. 1980. (Nancy Renfro has been a writer and collaborator on many wonderful puppetry books for educators. She has left a legacy for puppetry in education. I recommend any of her books. The ones left in print can be purchased through the P of A bookstore.)

*Chesse, Bruce & Beverly Armstrong. Puppets from Polyfoam, Sponges. Walnut Creek, CA: Early Stages Publications. 1975. (An original, one-of-a-kind book – great for educators.)

Coad, Luman. Classroom Stages and Black Theater. Vancouver, BC: Coad Canada Puppets. 1975. (Coad Canada are some of the world’s outstanding puppeteers. These are two small but excellent books)

_____. Using Puppets in Schools. Vancouver, B.C.: Coad Canada. 1974. (Simple ideas on puppet manipulation. Easy to follow.)

_____. Puppets for Schools. Vancouver, B.C.: Coad Canada. (Simple construction.)

Condon, Camy. Try on My Shoe. Chula Vista, CA: Lynn Jennings Publisher. 1987. (A multicultural folktale resource, BIBLIOGRAPHY OF PUPPETRY Page 2 complete with puppet patterns.) _____. & James McGinnis. Helping Kids Care. Institute for Peace and Justice, Meyer Stone Books. 1988.

Devet, Donald and Drew Allison. The Wit and Wisdom of Polyfoam Puppet Construction. Charlotte, NC: Grey Seal Productions Puppet Studio. 1983.

*Engler, Larry and Carol Fijan. Making Puppets Come Alive. NY: Taplinger Pub. Co. . 1973 (Out of print, but a must for puppeteers.)

Feller, Ron and Marsha. Paper Masks and Puppets. Seattle, WA: The Arts Factory. 1990

_____, Fairy Tales. Seattle WA: The Arts Factory. 1987. (More masks, and an excellent approach to story development.)

*Fettig, Hansgurgen. Hand and Rod Puppets. Boston: Plays Inc. 1973. (A great resource; sadly, it is out of print, but is a must for the puppet designer.)

Fijan, Carol and Frank Ballard. Directing the Puppet Theater. San Jose, CA: Resource Publications, Inc. 1989. (A basic theater approach to direction.)

Fling, Helen. Marionettes, How to Make and Work Them. NY: Dover Craft Publications. 1983.

Flower, Cedric, and Alan Fortney. Puppets, Methods and Materials. Worcester, MA: Davis Publications. 1983. (Many pictures, construction methods.)

Fisher, James. ed. Puppetry Yearbook, Vol. 1, 1995, Forum for Articles on History and Practice of Puppetry. Written by scholars and performing artists. 1995. (P of A bookstore.)

Fredricks, Mary and Joyce Segal. Creative Puppetry in the Classroom. CT: New Plays Inc. 1979.

Frazier, Nancy and Nancy Renfro, illustration. Imagination. Austin, TX: Nancy Renfro Studios. 1987.

Golden Book Encyclopedia. The Puppet Book. London: Plays, Inc. (Out of print, good resource.)

Gorsline, Douglas. What People Wore. NJ: Dover Publications, Inc. 1980. (Excellent for costuming.)

Henson Assoc. The Art of the Muppets. NY: Bantam Books. 1980.

Henson, Cheryl and the Muppet Workshop. The Muppets Puppets. NY: Workman Publish. 1994.

Hierstein-Morris, Jill. Puppet Patterns for Farm Folk. OK: Creatively Yours. 1995. (Book full of patterns which can be copied and used to make puppets.)

Johnson, Janibeth. Shadow Puppets on the Overhead Projector. CT: Janibeth Johnson. 1976. (A Book developed from work done at the University of Connecticut Puppetry Arts program.)

Kempler, Dianne, Curator. Puppetry of China. Atlanta, GA: Center for Puppetry Arts. 1984.

Kominz, Laurence # Mark Levinson, ed. The Language of Puppetry. Seattle, WA: Pacific Puppetry Press. 1990. (Articles about the art of puppetry by major puppetry artists.)

*Kraska, Edie. Toys and Tales from Grandmother’s Attic. Boston, MA: Houghton Mifflin, Co. 1979. (Excellent authentic shadow puppets; out of print, but a great resource.)

Lasky, Kathryn. Puppeteer. NY: Macmillan Publishing Co. 1985 (A book about Boston puppeteer, Paul Vincent Davis, BIBLIOGRAPHY OF PUPPETRY Page 3 an artist in action.) *Latshaw, George. Puppetry the Ultimate Disguise. NY: Richard Rosen Press. 1978. (Great.)

Lewis, Shari. The Shari Lewis Puppet Book. Citadel Press. (She has many books and videos available.)

Mazzacane, Mary. Music Education Through Puppetry. Hamden, CT: Keynote Pub. 1984.

*Obraztzov, Sergi. The Chinese Puppet Theater. Boston, MA: Plays Inc. 1961.

Paludan, Lis. Playing with Puppets. Copenhagen: Mills and Boon. 1965. (Old but good.)

*Philpot, A. R. The Puppet Book. London: Michael Joseph Press. 1965. (Historical)

_____. Let’s Look At Puppets. Whitman. 1956. (Short history of puppetry to early ‘50’s.)

Renfro, Nancy and Nancy Frazier. Imagination at Play with Puppets and Dramatics. Austin, TX: Nancy Renfro Studios. 1987.

_____ , and Beverly Armstrong. Make Amazing Puppets. Santa Barbra, CA:The Learning Works. 1982.

_____ , & Connie Champlin. Storytelling with Puppets. Chicago, IL: Chicago Press. 1985.

_____. Puppet Shows Made Easy. Austin, TX: Nancy Renfro Studios. 1984.

_____. Puppetry and the Art of Story Creation. Austin, TX: Nancy Renfro Studios. 1979

_____. Puppetry, Language and the Special Child. Discovering Alternative Languages. Austin, TX: Nancy Renfro Studios. 1979

_____ , and Tamar Hunt. Pocketful of Puppets, Mother Goose. Austin, TX: Nancy Renfro Studios. 1982.

_____. Puppetry in Early Childhood Education. Austin, TX: Nancy Renfro Studios. 1982. (Exc. background and sound child development.)

_____ , and Yvonne Winer. Pocketful of Puppets: Three Plump Fish. Austin, TX: Nancy Renfro Studios. 1983.

Ross, Laura. How to Make and Use Hand Puppets. Lothrop, Lee & Shepard. 1969. (A basic book on puppets includ- ing history, construction and dramatic approaches.)

Rump, Man. Puppets and Masks, Stagecraft and Storytelling. Worcester, MA: Davis Publications Inc. 1996. (Many good ideas and approaches to puppet construction and drama.)

Schneebeli-Morrell, Deborah. Puppet Making. NJ: Chartwell Books. 1994. (Easy to follow.)

Schroeder, Joanne. Fun Puppets for Schools and Libraries. 1995. (P of A Store)

Scott, A. S. The Puppet Theater of Japan. Rutland, VT & Tokyo: Charles E. Tuttle Co. 1973.

Scott, Louise Bener and Mildred Shaw. Puppets For All Grades. NY: Davisville, F.A. Owen Publishers. (Simply writ- ten; includes reasons for using puppets.)

Schram, Toni. Puppet Plays from Workshop to Performance. Englewood, CO: Teachers Ideas Press. 1993.

Shultz, Terry Louis and Linda Sorenson. Organic Puppet Theater. Santa Cruz, CA: Network Publications. 1989. BIBLIOGRAPHY OF PUPPETRY Page 4

(Puppetry to teach about the human body.) *Sims, Judy & Beverly Armstrong, illustration. Puppets for Dreaming and Scheming. CA: Early Stages Press. 1978. (A great idea book for using puppets with children.)

*Spolin, Viola. Improvisation in the Theater. Chicago, IL: Northeastern Univ. Press. 1963. (Perhaps the best book on improvisation acting. Great exercises which can easily be adapted to puppetry.)

_____. Theater Games For The Classroom. A Teachers Handbook. Evanston, IL: Northwestern Univ. Press. 1986. (Adaptation of above book.)

Sylwestr, Roland. Teaching Bible Stories More Effectively with Puppets. Missouri: Concordia Publishing House. 1976.

*Tichenor, Tom. Folk Plays for Puppets You Can Make. NY: Abington Press. (Tichenor created the puppets for Carnival. His work is part of puppetry history.)

Tilakasiri, J. The Puppet Theater of Asia. Ceylon: Dept. of Cultural Affairs. 1968.

Tilroe, Nikki. Movement in Puppetry Performance. Wollaston, MA: Touching Hands Publications. 1988. (Exercises in hand puppet manipulation.)

Union International Des Marionettes, ed. Puppet Theater of the Modern World. Trans. Ewald Asers and Elizabeth Strick. Boston, MA: Plays Inc. 1967. (Collection of essays which discuss puppetry, including a philosophy of puppetry in today’s world. Half of the book has beautiful prints.)

Vandergun, Allison. Puppets for the Classroom. Vancouver, BC: Allison Vandergun. 1974.

Van Schuyver, Jan. Storytelling Made Easy with Puppets. Phoenix, AZ: Oryx Press. 1993.

Way, Brian. Development Though Drama. Atlantic Highlands, NJ: Humanities Press. 1967. Now in the 11th printing. (An excellent resource and text.)

_____. Audience Participation Theater For Young People. Boston, MA: Bakers Plays. 1981.

Wright, John. Rod, Shadow and Glove Puppets From the Little Angel Theater. London: Robert Hale Press. 1986.

Wright, Lydie. Masks. London: Franklin Watt. 1991.

Yoder, Caroline P. ed. Faces, a Magazine about People. “Important Puppets,” Peterborough, NH: Cobblerstone Publishing. Vol. 5 #5 1989. (Reprints available by calling FACES.)

Zetlaw, Joann and Cheryl Standish Frank. Alphabet Puppets, an Interdisciplinary Approach to the Alphabet. Carthage, IL: Good Apple Inc. 1985.