PRING and-SUMME 014 Issue #3 .: the pu et in contempora t medi ~ $5.95 US $7.95 CAN 1 ( l'15 h r ( 1)~ ( lj~ e ~1 *,«»-:~:~ kt-%*I;!ff*-»~i K -Me#**16-p*, -9352Ur#*C'*~2~%~(4-,4,,",644* 306ry --,}f, SS,i,-«435dtf- 4144:wv-~«: 1~61 ~~1~,1*'FE--'- *4 ·p'b~' '4-.,-:©:. 4£ 64 ilkS --, : .2 4. V- » -3». - - -64~*Z Med--fil: - --I- *-i -/: --= = .. 2- --~-.- f'# i dit ,~-1 ' -:* -**4~4 ]#,991»*s4:<» f~~~r~~~C'.,~~7.1Ld=4448~141~~~( -~S~~1,164»»41+-%24eA *. tiAJE'.RA/*03,7,/EP/&24/:45%-2*./h#E ir.. 44 /- 24/*1*tif~.~did#mia.*~~-~*6f,w*4#~'-:5*'~«Rf L » . 4. LE 1 ''C ,..' - . S « 1 Fr r,/ , .«,1 4,4 - - ' I.. r 1 114 1 ... I IL«1,1 ~ «9* , , I t'; 4j . 3 111:11'11' f 941 1 FOLK PUPPETTHEATRES IN CHINA by Mingsheng Ye (SEE ARTICLE, PAGE 22) * PUPPETRY INTERNATIONAL issue no. 35 The Editor's 1#Les 2 CHINESE PUPPETRY - Vengeful Marionettes" in Quanzhou by Josh Stenberg ................... 4 The Last Masters: the imperiled shadow makers br Annie K. Ro//ins 8 ' Evoking Spiritual Power" through traditional puppetry by Fan Pen Chen \2 A Bread and Puppet workshop in Shanghai by C/are Do/an . ....... ...... 18 Folk Puppet Theatres, Part I br Mingsheng Ye _ ..... .......................... 21 Yeung Fai draws on the Cultural Revolution ,.,,,. ,,.,,. 27 German Shadow Puppet Troupe interview by jimn·u //tie 28 Folk Puppet Theatres. Part 11 bv Mingsheng Ye .... .. 44 Monkey King-photo essay hy Brad/brd C/ark ... 48 REVIEWS Hanne Tierney'% Strange *des 0/ Licior/tai, review by Sissi Liu 32 Shadow Woman: New book on Pauline Benton , review by Annie K . Rollins . 34 Reflections on Craig and Kantor, review by John Bell . .. 36 Festival Review: Charleville-MtziOres 2013 by Mike Kelly and Alissa Mello 38 ©2014- UNIMA-USA Puppetry International is a publication of UNIMA-USA, Inc. American Center of the UNION INTERNATIONALE de la MARIONNETTE Promoting international friendship and understanding through the art of puppetry. c/o Center for Puppetry Arts 1404 Spring Street, NW Atlanta, GA 30309 USA 404-873-3089 www.unima-usa.org On the COVER: A Quan:.hot, Marionette Production of The Orphan of Zhao (sce itj-tic k. page 4 ) PUPPETRY INTERNATIONAL 5*u.Ae- China. I think it is not unusual for largest migration in human history such Chinese immigrant artists as Americans to have complex, often as hundreds of millions there move hand puppeteer Yang Feng, rod contradictory, associations with the from the countryside to cities. puppeteer Hua Hua Zhang and name-from fine teacups to Jackie Small, traditional theaters are los- singer/dancer/puppeteer Kuang-Yu Chan, from the sayings of Confu- ing their audiences. Perhaps some Fong add their artistry to our cul- cius to Quotations from Chairman of them will be saved by a hoped- tural buffet, and then collabore with Mao, from the invasion of Tibet for wave of preservation zeal. New other artists here, helping American to the Cultural Revolution, from companies will surely spring up puppetry evolve. In this issue, we SARS to Peking Opera. It has been in the quickly expanding urban can, at best, scratch the surface of said that the world is currently go- centers, but the puppetry landscape China-a country in which pup- ing through the sixth great extinc- there is inexorably changing. petry stretches back some 2,000 tion; Puppetry scholars are con- This issue is full of articles years, but we have some stories cerned that, in China, traditional about puppetry in China, as well to share that we hope will at least puppet companies are also going as puppetry that has moved out of pique your interest in this amazing, extinct at an alarming rate. This is China to other parts of the world. enormous, multi-ethnic culture, and happening, in part at least, to the We are fortunate here to have had the puppetry that has evolved there. Josh Stenberg, from Nanjing two-part article by Professor Ye on And that is the amazing thing about University, describes a Quanzhou traditional puppet theatres in China puppetry in China or anywhere Marionette production of The (pages 22 and 44) and Claire Dolan else. Whether it is in the delicate Orphan ofZhao, an ancient text remembers a workshop production movements of a marionette, or per- that has seen many modern ad- she led in Shanghai for Bread and forming a 1311} century script that aptations (page 4), while Annie Puppet Theater (page 18). Political Still speaks to us today, or in parade Rollins is on a mission to help theater of the sort proposed in the figures made from used cardboard preserve some of the more endan- workshop was entirely foreign to boxes to address the conundrum of gered shadow traditions in "The the college students participating, rampant urban renewal: In the stir- Last Masters" (page 8). Fan Pen but as other members of the com- ring together of puppeteer, puppet Chen writes about ritual puppetry munity got involved, something and audience, something new and (page 12), but has also translated a truly magical happened. unexpected is created. ME- -Aune*, 8. 'P~Al£ PUPPETRY INTERNATIONAL Editor Peer Review Editor wit=985 - Andrew Periale Puppetry International 's peer- W,LIzr=Fly Dassia Posner, Northwestern University ~ PO Box 252 reviewed articles explore how the =«~ Strafford , NH 03884 Peer Reviewers puppet functions dramaturgically, [email protected] John Bell, Boston College Eileen Blumenthal, Rutgers University investigate larger philosophical Designer/Assistant Editor Dawn Tracey Brandes, questions provoked by puppets and Bonnie Periale Northwestern University performing objects, and trace the [email protected] Bradford Clark, Bowling Green University James M. Cherry, Wabash College integral place of puppetry in world Historian/Book Review Editor Matthew Isaac Cohen, Royal Holloway, performance cultre. We publish work John Bell* University of London by both emerging and established [email protected] Kathy Foley, U.CA Riverside scholars who are pioneering new Claudia Orenstein, Hunter College/Graduate Webmaster/Consultant for Electronic Media Center, City University of New York discoveries based on archival, field Donald Devet Colette Searls, University of Maryland, or practice-based research. Baltimore Advertising -Dassia N. Posner Honey Goodenough [email protected] Production This issue features an article by Josh Stenberg on a modern production Terrie Ilaria, Lillian Meier STEINWAY STUDIO of The Orphan Of Zhao ( featured on our cover) based on medieval script. Stenberg explores its veneration of blood revenge, and how contemporary audiences find such themes "provoke deep reflection and thought." UNIMA Membership Services Lyrric Jackson [email protected] Controller Lisa Rhodes Board of Directors, UNIMA-USA, Inc. Thank you, Jane Henson Founding President - JIM HENSON Marianne Tucker - President The Board of Directors and Officers of UNIMA-USA Marsian DeLellis - Secretary are pleased to announce and grateful for a generous Blair Thomas - Treasurer Irina Niculescu - Vice President, Committees gift from the Jane Henson estate. Jane served Manuel Moran - Vice President, Procedures* on the board of UNIMA-USA and was a generous Claudia Orenstein - Vice President, Publications Honey Goodenough supporter during her lifetime. We are honored that she Lynn K. Jeffries remembered us in her will. Thank you, Jane, and thank Jean Marie Keevins you to the Henson family for their continued interest. Frank Maugeri Karen Smith Marianne Tucker President, UNIMA-USA Ex-Officio Board Members Vincent Anthony - General Secretary Steve Abrams - Consultant - Electronic Media Leslee Asch - Consultant Dimitri Carter - Consultant* Allelu Kurten - Consultant Michael Nelson - Consultant, Procedures Andrew & Bonnie Periale - Publications www.unima-usa.org/publications Bart P. Roccoberton - Consultant Be sure to check out the additional material on the UNIMA-USA website. *UNIMA International Councilor PEER REVIEW VENGEFUL MARIONETTES AND STRATEGIES OF REFORM: A Quanzhou Marionette Production OfThe Orphan of Zhao by Josh Stenberg, Nanjing University in 2012. the Quanzhou Marionette Company premiered their pro- This synopsi, outlines both the original Yuan -t</1, script and duction Of The Orphan of Zlitio . h went onto featureiliprominent the ne \v ,cript co- written by Fan Xiaoning :ind marionettetroupe festivals. including the World MinnanCultural Festivalin June 2013 directot-Wang Jingxi:iii (b. 1955).Wang was a playwright at the and the 10'~'ChinaArts Festivalin Shandong in Octoberofthesame Qualizhou Gaojiaopera (1979 to 1992) before he was transferred iii year. where it was the only 1992 to the marionette troupe puppet performance. These as general director and party succesxes culminated in a secretary. Important recent prestigious Wenhua Prize- achievenient~ during thix ten- the third time the troupe had u e include the 2011 and 2012 won it with a new produc- Wenhua Prizes and 2006 and tic,n. Nevertheless. the choice 2011 agreements to train new of this material for a mari- classes of puppeteers at the onette play is for a number Fulian Art School (Quanzhou of reasons a novel decision: branch) and the Shanehai though The Orphan O.f Zlitio Theater Academy. and the Q u.inzhou marionette Positive reception of The tradition share a considerable Orphan of Zhao natiative antiquity, this is not the sort of typically stresse, the imperial text generally associated with loyalty of Cheng Ying and either the niarionette genre or the final redress of wrongs. the region. The choice of such Judging by the alterations a plot, drawn from the nation- made by a number of other al literary canon and grave in adaptations, however. many subject matter. for production have found it expedient to by Quanzhou mai'ionettes. mitiiate the bloodiness of the instantiates a recent 2eneral play. since the moral-that tendency in the official prac- violence will be avenged by tice of traditional Chinese more violence.