Puppet Theatre Research Articles

Робота над «моноактом» у системі підготовки актора театру ляльок

The article deals with the essential aspects of the method of teaching the basics of the drama theater acting on the department Acting and directing of the puppet theater. The main attention is focused on monoact (excerpt from a literary work full of physical activity in which acts one character) - as a complex exercise for mastering the elements of stage action.

The Winter Rites of Ukrainians in the Lens’ Focus. Authentic Performance (Materials for Video Anthology). Part 2

Videos of traditional ritual are valuable cultural artifacts. These materials are also a didactic material in the educational process, improve the knowledge of traditional culture, corresponding to the level of modern multimedia needs of the audience. These factors emphasize the relevance of creating of the video anthology for the winter rituals of Ukrainians. The purpose of this article is to review the well-known author on video this time of winter rituals of ethnic Ukrainian lands in authentic performance of the Carpathians, Boykivshchyna and Middle Polissya. The basis of the material is video recordings from the funds of scientific research laboratories of musical folklore, private collections, ethnographic films, as well as materials from the Internet. We use methods: historical, ethnographic and comparative. Carpathians (Maramoroshchyna) . The film by Hanna Pelina and Anastasia Mazurenko «Yako s nami Bog» («God is with us»). The film includes the expeditionary records of 2014–2015 – rituals caroling and «vertep» from the Ukrainians of the Maramures district in Romania. Boykivschyna . The puppet «vertep» (christmas puppet theater – «betleyka») was the subject of expeditions Andrii Vovchak (2011-2012) on Staryj Sambir district. In a subsequent study, A. Vovchak reconstructed the texts of vertepnа drаmа and gave a detailed description of the local vertep chest and dolls. The traditional «live» vertep in the Boykivshchyna was recorded Bozhena Maslyak in the village of Raļivka, Sambir district of Lviv, during 2017 and 2018 during the rite. This type of vertep drama widespread in western Ukraine. Middle Polissya. In the video «Traditional rites of Turovschiny» (village Pogost Zhitkovichi district, Gomel region, a fragment of the film «Wheel of time», dir. Igor Byshnev) illustrates and comments are holidays Christmas and New Year. On the video from the village of Tonezh (Lelchitsy District, Gomel Region; from Larisa Shchirakova) – caroling and the Rite of Goat Driving. Video of the winter rituals of the Christmas season from this article the latest in the list of selected videos from two archaic zones of the Ukrainian ethnic tradition and adjacent lands. In the following publications it is planned to characterize the video from the Podillia and the Left Bank of the Dnieper. Conclusions . Video of winter rites reflects the current state of folk culture, which continues to function in the XXI century. Regional differences lie in the fact that in the Carpathians the tradition is preserved by men and young men, and in Polesye the older women perform winter rituals and songs. The male repertoire in Polesie (Goat Driving) disappears, but local singers (women) still know their carols/schedrovki very well.

The Puppet Theatre in Poland

The Puppet Theatre in Poland

The Director in Puppet Theatre

In the Polish theatre of the second half of the 20th century, and it seems that also in that of the first quarter of the 21st century, the most important person is the director. Was it always so that puppet theatre equals the director? So, the objectives of this study to determine this problem. It was only in the 20th century, beginning with the period of the great reform of theatre, that the director was given unlimited competencies. In puppet theatre this process took much longer, because the classical style of theatre organization, derived from unaccompanied and private enterprises of particular creators, also endured for longer. This profession was slow in developing. Today, it is the director that rules supreme in a puppet theatre. But we are still taking about directorial space delineated a few decades ago. In practice, Polish directors are still convinced today that theatre is intended to tell stories. This process eliminates puppetry as an independently existing art based primarily on the abilities of the craftsmen; on the miracle of animating a lifeless object, a puppet, whose magical life has so much to offer the spectators. On the contrary, axis of this process stand the artists who see the meaning of their theatrical expression in bring lifeless matter to life. This – when puppet theatre is, after all, a show; it is visual art in motion, not storytelling.

Features of the education of the actor-puppeteer

Features of the education of the actor-puppeteer

THE PUNCH AND JUDY SHOW: ITS HISTORY AND CULTURAL SIGNIFICANCE

Punch and Judy is a traditional form of puppet theatre widely known in the United Kingdom and certain other English-speaking countries. As part of the national culture for over 350 years it has featured in numerous works of art, particularly in literature of the nineteenth and twentieth centuries. Being generally less well-known beyond Britain, it may be problematic for readers encountering references to the show in English literature, such as the works of Dickens and Conrad. This paper provides an overview of the show, a short history and a description of certain aspects of historical and social change within the tradition.

Puppet theatre in Italy

Puppet theatre in Italy

Vadí/Nevadí: puppet play in Věra Chytilová’s Sedmikrásky (Daisies)

ABSTRACTThis work explores Věra Chytilová’s use of the aesthetics and semiotic space of the puppet theatre in her 1966 film Sedmikrásky (Daisies). Although critical response to the film has frequently highlighted the doll-like nature of the heroines’ appearance in the opening scene, I argue that it is Chytilová’s use of the puppet and its simultaneous status as both object and agent which underlies the film’s inquiry into questions of morality, violence, destruction, and consumption. This simultaneous status as object and agent – or animate and inanimate – elucidates not only the moral ambiguity of the heroines’ behaviour and corresponding massive variation in audience responses, but also the seeming contradictions in Chytilová’s own discussions of the film both before and after the Velvet Revolution. Using Otakar Zich’s and Henryk Jurkowski’s theoretical works on the phenomenology of the puppet theatre along with Heinrich von Kleist’s work on the moral sphere of the puppet, I present the puppet theatre as the film’s mechanism for exploring themes of consumption, destruction, performativity, and agency.

Alternative Puppet ‘Bodies’

Neste artigo, Cariad Astles discute a perda ou a alteracao do corpo do boneco dentro do teatro de bonecos contemporâneo: a dissolucao das fronteiras nos trabalhos transdisciplinares tem se dado de tal forma que se torna com frequencia dificil localizar o boneco em trabalhos que se auto-intitulam “teatro de bonecos”.

Performing Human Rights During The War On Terror: Great Small Works’ Rising Tide Parade

In the spring of 2006, Great Small Works was commissioned by theLower Manhattan Cultural Council to make an art parade to kick off the River to River Festival, a summer-long series of concerts and performances whose goal, it seems to me, was to bring back a sense of lively public culture to the still-traumatized environs of 2001’s “Ground Zero.” While previous years’ parades had been collections of New York City artists’ processional sculptures, we decided to make our River to River parade a street theater event, a politically themed meditation on rivers, streets, and the dynamics of power in communities faced with transformation and change. In this, of course, we were following the kinds of traditions which Bread and Puppet Theater, Welfare State International, and other groups in the seventies had pursued; as well as the rich processional traditions of the 1920s and 30s; centuries of outrageous carnival street performance, Renaissance outdoor spectacle; and even the origins of Greek tragedy in the wheel-mounted processional boats – the carre navalis – which some have considered the roots of European carnival.

Sujet – objet: entretiens et pourparlers

The text analyses the work developed by the Théâtre du Mouvement, founded in Paris in 1973, highlighting diff erentiated practices undertaken with the object and their possible relationships with puppet theatre arts and contemporary tendencies in puppet theatre. The analyses are enriched with refl ections on the pedagogical activities and activities in theatre direction developed by the author at the École Nationale Supérieure des Arts de la Marionnette — ESNAM [National Higher School for Puppet Arts], in Charleville-Mézières, France, where the author has been a lecturer since 1988. Th e work of the actor-puppeteer, its ramifi cations, and the complex relationship with the object/puppet constitute the central focus of the present study.Keywords: Theatre of movement. Theatre of objects. Theatre performance. Manipulation of objects. Manipulation of puppets.

L’avenir du théâtre peut naître aussi sur les chantiers d’une école

This study analyses the experiences of the author as a theatre teacher and puppet theatre director at two important moments in her professional and artistic trajectory. Th e fi rst, when she founded and was director of the Puppeteer's Studio in Bucharest, Romania, between the years of 1972 and 1976. The second moment relates to her activities as the creator and director of the École Nationale Supérieure des Arts de la Marionnette — ENSAM — [National Higher School for Puppet Arts], in Charleville-Mézières, France, 1987. Th e text highlights the distinct paths that are taken in the development of the actor-puppeteer. The article refl ects on teaching organized into principles of the transmission of inherited knowledge; teaching centred on experimentation and the personal choices of the student; and the tertiary 16 Revista de Estudos sobre Teatro de Formas Animadas MÓIN-MÓIN education institution. Rather than giving defi nitive and ready-made answers, the study aims to question, instigate and create questions about professional development in the complex fi eld of the art of puppet theatre.Keywords: Professional development, theatre schools, puppet theatre.

Scenografija Kazališta lutaka u Zadru

Autorica u ovom radu prikazuje razvojni put scenografija i tehnologije izrade lutaka u Kazalištu lutaka Zadar u kontekstu hrvatskog lutkarstva druge polovice XX. stoljeća. Rekonstrukciju vizualne poetike započinje analizom prvih lutkarskih scenografija pedesetih i šezdesetih godina i analizom prvih pokušaja da se o scenografiji počne razmišljati kao o ravnopravnoj sastavnici scenskog izraza zajedno s animacijom, posebice govorom, potom iznosi manje poznate podatke o najvećem hrvatskom lutkarskom scenografu Branku Stojakoviću. Posljednje stranice posvećuje karikaturisti i scenografu Mojmiru Mihatovu koji na sasvim drugačiji način od svojeg prethodnika vizualno rješava lutkarsku scenu u skladu sa svojim shvaćanjem scenske umjetnosti.

Puppet knowledge and the life of the puppeteer

How does one learn to become a puppeteer in a time when traditional forms seem outmoded, and new forms lack tradition? John Bell explores his own learning experiences with Peter Schumann's American troupe Bread & Puppet Theater, which combines avant-garde methods of invention with a strong respect for tradition, and explains how he combines both approaches in his own teaching, which wants to incorporate extensive knowledge of past practices of puppetry with an open approach to inventing new techniques with old and new forms of performing objects.Keywords: Puppetry. Education. Bread & Puppet Theater. Performing Objects.

Teaching philosophies in Puppet Theatre Puppeteer – actor-puppeteer - performer

At first – terminology. The words should respond to their designates. So the puppet theatre means theatre in which puppet (as a three dimentional figure of the real or fantastic beings) dominates. All the other phenomena like shadow, hand or objects theatre should have their own names to exclude the terminological chaos. Thus the paper speaks on teaching of real puppeteer working within the real puppettheatre. There are four type of puppeteers: 1. natural one – a nugget, 2. taught within the theatre or at various courses, 3. puppeteer- actor taught in the higher academiesaccording to the drama principle, 4. a virtual puppeteer-performer, taking his impulses from the fine art and the energy of the matter. As the experiment with actor-puppeteer’s teaching failed the performer might be real puppeteer of the future.Keywords: Puppet. Puppeteer. Actor. Performer. Material puppet theatre.

University-Level puppetry training

For seventy years puppet theatre in the region of Central-Eastern Europe has been developing in a different rhythm than elsewhere. Introducing puppeteer training was a natural consequence of the establishment of institutional puppet theatres. The puppetry schools were modelled on art academies; after all, these academies had been educating artists, musicians, actors, so why not puppeteers? University-level facultiesof puppetry finally emerged in the 1950s because, so to speak, the realities of the era had demanded it. What is the situation now? Is the long-term professional training of puppeteers still interesting, useful, needed? What are the strengths and weaknesses of the system of the university-level puppeteer training?Keywords: Puppetry. Art training. Puppetry schools.

The Story and the Telling – Perspectives on Training in Contemporary Puppetry

Quality design and virtuoso performance do not always produce a good play.They are not enough; neither is the sum total of the stage elements. Staging is a craft primarily focused on constructing complex evolving relationships between the various elements: between the story and the interpretation, the puppets and the performers, the characters and their function, and between the story and the narration. This article looks at the teaching practices established by Ophrat through four exercises dealing respectively with (a) the function of the body as it reflects on the relationship of the performer and the puppets, (b) the separated use of sound and action, being originated from different sources,(c) The idea of duality of the puppet as major dramatic role, and (d) understanding that everything in puppet theater can be manipulated, including space.Keywords: Visual Theater. Story telling. Object-subject.

Heritage is not a museum piece

This article reflects about the registration of different traditional puppettheatre manifestations as intangible cultural heritage. It discusses how important it is to preserve traditional puppetry but also presents doubts about how the registration affects this art form that is constantly changing.Keywords: Cultural heritage. Puppet theatre. Traditional puppet theatre.

Bunraku – intangible cultural heritage

Bunraku. Where puppets explain human emotions better than humans. Like Opera dei Pupi in Sicily, Italy, and Wayang in Indonesia, Ningyo Joruri Bunraku was designated a World Intangible Heritage by UNESCO in 2003 and enrolled on the list in 2008. It is one of Japan’s traditional performing arts, starting in the 17th century and continuing until today through Japanese history and culture. It combines narrative, music, and puppets, each operated by three puppeteers. Because the puppets can showhuman emotions on the stage realistically, people all over the world are interested in it.Keywords: Japan. Bunraku. Puppet Theatre.

Northeast ern Popular Puppet Theater - Mamulengo, Babau, João Redondo and Cassimiro Coco: an intangible Brazilian heritage

This article discusses the basic principles, guidelines and processes for the registration of Northeast ern Popular Puppet Theater - Mamulengo, Babau, Joao Redondo and Cassimiro Coco - as part of Brazil’s cultural heritage. The article is based on a dossier, which is one of the requirements of IPHAN (National Institute of Historical and Artistic Heritage) to obtain the above-mentioned title. Keywords: Northeast ern popular puppet theater. Intangible heritage. Brazilian culture.