Kamala Kruszka

Total Page:16

File Type:pdf, Size:1020Kb

Kamala Kruszka KAMALA BOECK HOME ADDRESS: WORK ADDRESS: 3809 Bianchi Way Department of Theatre Bakersfield, CA 93309 California State University, Bakersfield (661) 858-0831 9001 Stockdale Highway Email: [email protected] Bakersfield, CA 93311 Website: https://www.csub.edu/theatre/about/faculty/Boeck (661) 654-6070 E D U C A T I O N M.F.A., Arizona State University, Tempe, Arizona December 1993 Theatre for Children and Youth. Thesis work on comedy and improvisation. GPA 3.91 B.A., Niagara University, Niagara Falls, New York June 1989 Summa Cum Laude Major: Theatre. GPA 3.8/ 4.0 major. A R T S I N E D U C A T I O N A N D O U T R E A C H Full Time Lecturer, California State University at Bakersfield Bakersfield, California Currently serving as the Theater for Young Audiences specialist for the CSU Bakersfield Campus. Full course load including Acting I, Creative Dramatics, Theatre for Youth, Dramatic Literature for Children, and Introduction to the Study of Theatre, Dynamic Leadership Through Improvisation and Dramatic Activity for the Classroom. Director and producer of the Theatre for Young Audiences tour that performs as part of the main stage season and tours to local schools, community centers, and libraries. Write original plays for Young Audiences, including The Talking Stick, Dust Bowl Dreams and The Water Play. Serve as voting member to the General Education (GECCO) committee. Serve as a faculty representative on the committee for faculty grievances. August 2005—Present Adjunct Professor, Fresno Pacific University Fresno, California Teaching DRA 357 – Creative Drama for FPU at various satellite campuses including Bakersfield, Lemoore and Visalia. October 2013 – January 2015. Founder and Executive Director—Omnipresent Puppet Theater Bakersfield, California Co-own and operate a professional puppet theater company. The theater currently performs for family audiences at schools, libraries, and community organizations in addition to being the puppet theater program at The Gaslight Melodrama and Music Hall in Bakersfield. We also create and perform puppet theater for adult audiences. Highlights include: Two original works presented in Phoenix, Arizona, and Bakersfield, California, for adult audiences. Performed Map Making as part of the emerging artists season at the Herberger Theatre Center in Phoenix and presented Becoming Flux at the Bob Baker Marionette Theater in Los Angeles. A repertoire of ten productions for family audiences. All shows are written, built and performed by our company. The creation of original puppets for other theater productions including giant animal puppets for various theatre companies which can be viewed at the company website: www.omnipuppets.org. Participation in “Puppet Slam” from 2003—Present in Phoenix with performances at the Puppeteers of America Pacific Southwest Regional Festival in 2004 and the National Festival in 2003 and 2005. Creation of all publicity materials, study guides, and marketing campaigns. Invoicing and bookkeeping for all touring performances. March 2003—2013. Education Director / General Manager, Great Arizona Puppet Theater Phoenix, Arizona Served as administrator for Arizona’s only professional puppet theater. Duties included: Teaching and administration of 21st Century after school program as part of a city wide arts grant teaching puppetry to children in the 4th and 5th grades in the Phoenix Elementary School District. Teaching workshops on puppetry in the classroom for local educators. Creating, marketing, and teaching student puppetry classes. Writing, formatting, and publishing study guides for performances and museum exhibits. Booking all touring performances and field trips to the theater. Creating contracts and invoicing for all puppet theater performances. Maintaining all income accounts, including bookkeeping and reconciliations. Annual budget $400,000. Creating and distributing all publicity and marketing materials, including print and media. Overseeing house managers and volunteers. Assisting in grant writing for theater. November 2001-August 2005. Education Director, Theatre of Youth Company Buffalo, New York Created and administered all educational programming including: TOY Theatre School: Developed and taught theater, acting, puppetry, and playwriting classes for K-12; hired and trained theater school teachers, promoted and marketed program in print and media, processed registrations, and negotiated school site locations. Coordinated partnerships with other cultural and community organizations, including collaborative workshops, teacher training, and residencies. Offered teacher in-service training on theatre in the classroom, creative dramatics, and directing. Four years as lead teacher and grant administrator for the ESL/bilingual drama program at Black Rock Academy. Coordinated and administered student internships. Wrote teacher study guides, curriculum guides, and outreach brochures. Maintained salary lines and negotiated contracts for staff teachers. Wrote grants. May 1996 - August 2000. Writer/Performer for Science On Stage, Buffalo Museum of Science Buffalo, New York Wrote and performed original productions which combined storytelling and puppetry as part of interpretive programming with the Department of Museum Education. Programs combined factual content from major touring exhibits and performance to create an entertaining and informative show intended for family audiences. Titles included: Bat Tales (bats), Up All Night (nocturnal animals), Ancient Egypt, Tribes of the Buffalo (Plains Indians), and Tales Told by a Thread (spiders). Developed and performed “Freddy and Maggie’s Adventures In Why,” a series of educational science shows aimed at early elementary students with the goal of introducing them to basic scientific concepts within a specific subject and two of its significant scientists. In “The Invisible World,” audiences learned about microbes with the help of Louis Pasteur and Alice Evans. “The Magic Seeds” introduced children to plant biology and they met George Washington Carver and conservationist Elizabeth Knight Britton. October 1995 - November 2000. Casual Lecturer of Creative Drama, Children's Theatre, Buffalo State College Buffalo, New York Taught semester-long courses in Creative Drama to provide the foundations and applications of creative dramatics. Guest lecturer for Children's Theatre class, focusing on the history, plays, and current trends in Theatre for Young Audiences. September 1998-December 2000. Adjunct Professor of Acting, Niagara University Niagara University, New York Taught sophomore acting to BFA students in Niagara’s theatre program. Study included an introduction to Shakespearean text and performance, scansion, text analysis, and rehearsal technique. 1997-1998. Roster Artist, Young Audiences of Western New York Buffalo, New York Served as a performing artist for Arts-in-Education programming. Presented “My Voice is a Radio,” a show about the voice and vocal characterization, and “Stories From Your World,” a residency workshop on beginning playwriting. September 1995 - June 1996 . Lead Instructor, Studio Arena Theatre School Buffalo, New York Created and taught an eight-week dramatic arts program for children ages five to seven. Taught teen-intensive drama program. Summer 1995 and 2001. Company Actress and Educator, Childsplay Tempe, Arizona Performed for more than 140,000 children as part of Arizona’s only professional theatre company for young audiences. Other duties included coordinating tour arrangements, participating in script development workshops, assisting in development projects, and apprentice grant writing under the direction of Gary Bacal, Childsplay’s Managing Director. January 1992 - May 1995 and January 2001 - December 2001. Graduate Teaching Fellow, Arizona State University Tempe, Arizona Taught Theatre 101 - Introduction to the Art of Acting to lower division undergraduate majors, and all levels of non-major students. Team taught Theatre 311 - Improvisation with Youth for upper division majors and non-majors. Duties included instruction, evaluation, and developing assessment tools for viewing acting scenes and improvisational work. August 1990 - December 1991. D I R E C T I N G There’s and Alligator…Bed California State University, Bakersfield October 2016 Aladdin California State University at Bakersfield March 2016 The Water Play California State University at Bakersfield March 2015 Dust Bowl Dreams California State University at Bakersfield March 2014 The Imaginators California State University at Bakersfield March 2013 The Talking Stick- Revival California State University at Bakersfield March 2012 New Kid California State University at Bakersfield March 2011 The Arkansaw Bear California State University at Bakersfield March 2010 Gold Fever Californian State University at Bakersfield March 2009 Rabbit Hole The Empty Space Theatre, Bakersfield October 2008 (Winner 2008 Best Director) Skupper-Duppers California State University at Bakersfield March 2008 Wiley and the Hairy Man California State University at Bakersfield March 2007 The Talking Stick California State University at Bakersfield March 2006 Map Making Omnipresent Puppet Theater March 2003 Stop Kiss Buffalo United Artists June, 2000 Winnie the Pooh Theatre of Youth Company May, 1998 Spontaneous Combustion Various - Phoenix, Arizona 1993-95 The City Without Love Mesa Youtheatre March, 1993 The Poet and the Rent ASU Lyceum April, 1992 Kenny’s Window ASU Studio November, 1991 P L A Y W R I T I N G The
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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!
    [Show full text]
  • The Power of the Puppet
    Union Internationale de la Marionnette The Power of the Puppet Editor Livija Krofl in The UNIMA Puppets in Education, Development and Therapy Commission Croatian Centre of UNIMA Zagreb, 2012 ffinal_12_06_2012_.inddinal_12_06_2012_.indd 3 112.6.20122.6.2012 117:46:387:46:38 THE POWER OF THE PUPPET Publishers The UNIMA Puppets in Education, Development and Therapy Commission Croatian Centre of UNIMA Editor Livija Krofl in English Language Editor Meg Amsden Reviewers Iva Gruić, Ph.D Prof. Dr. Robi Krofl ič Dr Peter Lang Layout, Design & Printed by Teovizija, Zagreb A print run of 400 copies © UNIMA 2012 All Rights Reserved A CIP catalogue record for this book is available from the National and University Library in Zagreb under 804855 ISBN 978-953-96856-6-7 ffinal_12_06_2012_.inddinal_12_06_2012_.indd 2 112.6.20122.6.2012 117:46:387:46:38 CONTENTS PREFACE Livija Krofl in . 7 Art as a Pathway to the Child Edi Majaron . 11 Aff ective Education through the Art of Animation Theatre Ida Hamre. 18 Playing with Puppets in Class – Teaching and Learning with Pleasure Helena Korošec . 29 The Role of the Puppet in Language Teaching Livija Krofl in . 46 Puppetry for Development Cariad Astles . 63 The Politics of Applied Puppetry Matt Smith . 79 Being Carbon Neutral Meg Amsden . 86 Puppets and the Emotional Development of Children – an International Overview Barbara Scheel . 96 Biographies of the Authors . 107 Index of names . 113 Index of terms. 116 ffinal_12_06_2012_.inddinal_12_06_2012_.indd 5 112.6.20122.6.2012 117:46:397:46:39 PREFACE The power of the puppet shows itself in diverse fi elds: not only in the puppet theatres, not only in rituals and magical spells, but also in the broad range of education and therapy.
    [Show full text]
  • Traditional Puppet Show in India
    Traditional Puppet Show in India http://ccrtindia.gov.in/puppetforms.php A puppet is one of the most remarkable and ingenious inventions of the man. It has been said that a puppet has to be more than his live counterpart for it is definitely the suggestive element that is more captivating and enduring in a puppet. Ancient Hindu philosophers have paid the greatest tribute to puppeteers. They have likened God Almighty to a puppeteer and the entire universe to a puppet stage. Srimad Bhagavata, the great epic depicting the story of Lord Krishna in his childhood say that with three strings- Satta, Raja and Tama, the God manipulates each object in the universe as a marionette. In Sanskrit terminology Puttalika and Puttika means ‘little sons’. The root of Puppet is derived from the latin word ‘Pupa’ meaning a doll. India is said to be the home of puppets, but it is yet to awaken to its unlimited possibilities. The earliest reference to the art of puppetry is found in Tamil classic ‘Silappadikaaram’ written around the 1st or 2nd century B.C. Natyashastra, the masterly treatise on dramaturgy written sometime during 2nd century BC to 2nd century AD., does not refer to the art of puppetry but the producer-cum-director of the human theatre has been termed as ‘Sutradhar’ meaning the holder of strings. The word might have found its place in theatre-terminology long before Natyashastra was written but it must come from marionette theatre. Puppetry, therefore, must have originated in India more than 500 years before Christ. Almost all types of puppets are found in India.
    [Show full text]
  • Voice Puppetry
    Voice Puppetry Matthew Brand MERL — a Mitsubishi Electric Research Laboratory 201 Broadway, Cambridge, MA 02139 Frames from a voice-driven animation, computed from a single baby picture and an adult model of facial control. Note the changes in upper facial expression. See figures 5, 6 and 7 for more examples of predicted mouth shapes. Abstract fore control is an increasingly prominent problem in animation. This is especially true in character facial animation, where good We introduce a method for predicting a control signal from another lip-syncing and dynamic facial expression are necessary to make a related signal, and apply it to voice puppetry: Generating full facial character look lively and believable. Viewers are highly attentive to animation from expressive information in an audio track. The facial action, quite sophisticated in their judgments of realism, and voice puppet learns a facial control model from computer vision easily distracted by facial action that is inconsistent with the voice of real facial behavior, automatically incorporating vocal and facial track. dynamics such as co-articulation. Animation is produced by using We introduce methods for learning a control program for speech- audio to drive the model, which induces a probability distribution based facial action from video, then driving this program with over the manifold of possible facial motions. We present a linear- an audio signal to produce realistic whole-face action, including time closed-form solution for the most probable trajectory over lip-syncing and upper-face expression, with correct dynamics, this manifold. The output is a series of facial control parameters, co-articulation phenomena, and ancillary deformations of facial suitable for driving many different kinds of animation ranging from tissues.
    [Show full text]
  • Puppet Theater in the German-Speaking World
    Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 1-1-2010 Puppet Theater in the German-Speaking World Connor Bartlett Doe Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Let us know how access to this document benefits ou.y Recommended Citation Doe, Connor Bartlett, "Puppet Theater in the German-Speaking World" (2010). Dissertations and Theses. Paper 88. https://doi.org/10.15760/etd.88 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Puppet Theater in the German-Speaking World by Connor Bartlett Doe A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in German Thesis Committee: Steven Fuller, Chair Oscar Fernández William Fischer Portland State University ©2010 ABSTRACT This work begins with a brief history of puppet theater in Germany. A look at important social aspects, pertinent philosophical discussions and the significance of puppet theater in the German literary tradition follow. The final chapter looks at Peter Schumann, a German puppeteer and artist who lives in America. In Germanistik, German puppet theater deserves a devoted place in the field of legitimate study in terms of its history, content and influence. Puppet theater’s historical development in Germany represents the larger evolution of Germany. From ancient times up to the present day, this artistic form of representation has enjoyed an audience in the German-speaking regions.
    [Show full text]