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Teaching Guide: Puppet Design

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Teaching Guide: Puppet Design AS DRAMA AND THEATRE Understanding and designing puppetry 7261 Teaching guide: puppet design Please note: this guide contains references to a number of designers/practitioners, not all of whom are prescribed practitioners for the AQA AS and A-level Drama and Theatre specifications. For assessment of AS Component 2, A-level Component 2 and A-level Component 3, students must select from the prescribed practitioner list published in the AS and A-level specifications. Contents Understanding and designing puppetry Understanding puppetry 3 What is the purpose of the puppet? What style is the puppet? / What decisions has the designer made? What about the audience? Examples in action Do it yourself Designing puppetry 8 What do I need to do? What practicalities should I consider? Where can I get inspiration? Understanding the context How can I present my ideas? Examples in action Do it yourself Component 1: Interpreting drama 14 Hints and tips for the written paper Component 2: Process and performance 16 Hints and tips for the practical work 2 Understanding and designing puppetry – AS Understanding puppetry Introduction The purpose of this section is to introduce you to some of the different elements of puppetry, and to give you some ways of approaching and understanding puppetry in theatre design. It will suggest some key questions you can consider when you see or create a puppet design. What is the purpose of the puppet? Puppets can represent human, animal or When you consider a puppet design, ask fantastical characters, allowing the audience yourself what the purpose of the puppet is, to engage with the performance in a different whether it has a clearly defined character way. Puppets can speak directly to the (and how this is communicated), and audience, act as storytellers, represent a whether or not the puppet has audience character from a play text, comment on the appeal. This will give you a good starting themes of a play, or contribute to mood and point for understanding how the puppet atmosphere of a performance. When functions in performance. thinking about puppetry, it is useful to consider two key elements of puppet design: Think about… when to use a puppet 1. Defined character is essential in Using a puppet in a performance is a successful puppetry. A puppet should unique way to communicate with the have a clearly defined purpose, character audience. Puppet designers and directors and personality in the production. The need to think very carefully about whether character of a puppet can be or not a puppet is a suitable choice for a communicated through its physical production. When watching a production features (for example its face, hands, with a puppet, consider how the puppet arms, or legs) or through how the puppet changes your relationship to the moves or speaks on stage. The performance: relationship between the puppet and the puppeteer is also essential in creating a • Why do you think this character was puppet’s character. suitable as a puppet? 2. Audience appeal is the relationship • Is the character intended to be played between the puppet and the audience. If by a puppet in the original play text or is the puppet does not have audience the use of a puppet a directorial appeal, the audience will not be able to decision? invest in it during a performance. • What effect does the puppet create? Audience appeal is closely related to defining character: if the audience can engage with the puppet’s character, it is easier to create belief in the puppet and Remember: everything’s deliberate! appeal for the audience. How the other performers on stage interact with the Good puppet design is a series of deliberate puppet will also help to create appeal for decisions. Always assume that a puppet’s the audience. appearance and actions are chosen for a reason and contribute to the audience’s experience. 3 Understanding and designing puppetry – AS What style is the puppet? Theatre productions use a range of styles, What decisions has the designer and the puppet designer needs to respond to made? the overall style of the production. It is important to be able to identify the style of a A puppet designer’s job is to make deliberate production in order to understand how and decisions about how a character is why a puppet has been used. Some represented through a puppet. This character examples of styles include: could be human, animal or fantastical. Part of understanding a puppet design is considering Realism what decisions have been made and what Realist productions incorporate elements that effect they might have on an audience. are meant to look like real life. Realism can Puppet designers might make decisions be total or partial. Total realism means a related to: production that looks as close to real life as possible, and it is rare to see puppets in Size: how big the puppet is, particularly in these productions, because puppets are not relation to other objects or performers on naturally realistic. Partial realism incorporates stage. It is also worth considering the realistic elements into a production that might relationship between the size of the puppet not be realistic overall, for example, using a and the equivalent size of a person or animal puppet in an otherwise realistic setting. in real life: is the puppet bigger or smaller than its real life counterpart? Making a puppet Symbolism particularly big or small can tell the audience Symbolist productions are more interested in something about the character it represents. communicating an idea to the audience than in representing real life. Symbolism allows the Scale: how big different elements of the designer to create a puppet that puppet are. Puppets need to communicate communicates some of these ideas to an visual information to an audience about a audience. Representing a character as a character, and scale can be used to draw the puppet might be a symbolist choice. audience’s attention to different features of the puppet. For example, a puppet of a very Minimalism nosy character might have a very big nose! Not all productions have to be large-scale. Minimalist productions use empty spaces and Shape: what shapes are used to construct rely on the actors to create an experience for the form of the puppet. Lots of very smooth the audience. Puppets in these productions curves can communicate a different sort of can be an essential way of telling a story, character to many sharp edges or straight focussing attention on characters and lines. Puppet designers will communicate narrative. character through shape, either looking carefully at the equivalent shape of people or Fantasy animals in real life, or by choosing very Fantasy productions allow the designer to deliberate shapes to create a character or a create a new world. For puppet designers, mood through the puppet. Different types of this might mean creating a fantasy character, puppets can be found on page 9. such as a dragon, fairy or alien. However, it is worth remembering that a fantastical design Texture: the materials used to create the still needs to maintain an internal logic so that puppets and how these feel. Different the audience can understand and engage textures can be used to make a puppet with the world of the production. appear more lifelike, or to communicate something about the puppet’s character to the audience. For example, a cat puppet 4 Understanding and designing puppetry – AS might be covered in fake fur to mimic a real configurations creates a different challenge life cat, or it might be made from leather-like for a puppet designer. The puppet will be fabric, to imitate a cat’s smooth fur and sleek seen from different angles depending on way of moving. where the audience are seated. For example, if a production is in-the-round, the puppet Remember: ‘read’ a stage. will need to be able to turn 360 degrees so that all audience members will be able to see When an audience looks at a puppet, they it. will believe that what they are seeing is important and significant. We say that What sort of experience is the puppet audiences ‘read’ the design: they identify creating? important elements of the puppet and work Some productions use puppets to create a out what they think these mean. When you specific experience for the audience. This can interpret a puppet, you are also reading the mean using puppets to contribute to the stage. Designers make decisions about what mood or atmosphere of a performance. For they think will ‘read best’ (that is, be most example, using a group of fantastical puppets effective and clearest to understand) for an as the chorus in Antigone would create a very audience. different mood to using a group of actors. What about the audience? Puppets often add comic moments to a production but are certainly not restricted to Part of understanding a puppet is this: in War Horse, for example, the goose understanding the effect it can have on an puppet is comic, but the range of emotions audience. Useful questions to consider are: achieved by the horse puppets is extensive. Where are the audience? How does the audience understand the puppet? Different theatre spaces create different relationships between actors and audience. Puppets create a relationship between the For example, theatres can be end-on, thrust, actor and the audience: the audience can use in-the-round, or traverse; performances can the actions of the puppeteer and the other also be promenade, immersive or site actors to understand the puppet. For specific. Further information on these example, if the puppeteer looks sad, and the configurations can be found in the resource other actors behave as if the puppet is sad, on set design and in the glossary.
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