Puppet Theatre Research Articles

Printed Matter Virtual Art Book Fair

Printed Matter Virtual Art Book Fair

Le Sous-Psychodrame : une nouvelle forme dramatique de Jean-Luc Lagarce

"The Sub-Psychodrama: a New Dramatic Form by Jean-Luc Lagarce. It is exactly by a neologism of a “sub-psychodrama” that the playwright and French director Jean-Luc Lagarce (1957-1995) defined one of his plays. The similarities between psychodramatic practices and Lagarce’s dramatic works are obvious. As in the context of psychodramatic practice, Lagarce’s characters take on roles and identify with them from a carnal as well as linguistic point of view. The situation in which Lagarce’s characters meet is very close to that which is, among others, treated by psychodramatists: the dialogue is not initialized, the individuals are stuck in their reproaches and focus only on their own points of view. Lagarce’s characters use the theatricalization, the putting in voice of a dramatic text of one of them in order to launch the speech that awaited this moment of expression. The sub-psychodrama, while being a poetic and dramatic concept of Lagarce, reveals the dialogical malaise in the contemporary society that the sub-psychodrama quotes while highlighting the complex mechanisms of the intersubjective perception as well as the mechanisms of our individual and collective memory. Both reflective self-perception, which goes from oneself to oneself, and transitive perception, which goes from oneself to the other or from the other to oneself – in the context of a speech act. The sub-psychodrama presents itself, therefore, as a dialogical and perceptive field of battle where the spoken word is in search of its answer. The sub-psychodrama invented and developed by Lagarce puts the concept of paper beings – linguistic puppets – at the same level, while promoting the coalition of puppet theater and word drama. Keywords: Lagarce, contemporary French drama, word drama, psychodrama, sub-psychodrama. "

Foreign Sindhen in Practice: New Teaching Strategies and the Impact of Practice-Led Research on Javanese Female Singing

Practice-led research has a long history in ethnomusicology and is currently reconsidered in many academic contexts all over the world. There has not been much literature written on the effects that a long-term active immersion in the music culture investigated can have on the “researched”, the “researcher” and the “research” itself. I experienced some of these effects as a native Italian who spent seven years learning, performing and researching in Java, Indonesia. I conducted my research led by the practice, inspired by the bi-musicality approach. Learning, performing and researching are approaches interrelated with each other and determine some interesting developments of investigation, not only within the research context, but in the research methodology itself. In this paper, I discuss the pros and cons of the practice-led research experience within the Javanese singing framework, considering the following specific aspects—new teaching strategies adopted by Javanese teachers to transmit knowledge to a foreign researcher; challenges encountered by a foreign singer on a shadow puppet theatre stage; the way in which local artists and audience take part in the research process and how the fieldwork might affect the researcher’s mentality and shape her/his approach. This article reflects on new outcomes produced by the encounter of practice and research, opening a debate about the possible collaborations and methodological exchanges between teachers, artists and researchers. It suggests that performing and understanding music should be heard and be included in the debate based on personal experience as performer and researcher.

Lesya Ukrainka’s creativity in the aesthetic parameters of modern national puppet theatre

Problem statement: topicality, novelty, methodology of the research. The logical grounds of this article are a requirement of the scientific understanding of specific of Lesya Ukrainka’s work in the national puppet theatre and absence of articles from the marked question. Based on the comparative, diachronicsynchronic, historical, evolutional methods and principles of analytical and culturological approaches, the aim of the article – creation of panorama of the works by Lesya Ukrainka in the Ukrainian puppet theatre of last XX – early XXI century, with the exposure of specific of their interpretations, – is realized as an innovative element of the reseach. The results of the study. Lesya Ukrainka’s work, as a representation of the Ukrainian culture polyphony and Ukrainian nation’s mental horizons specificity, purchased sign status and meaningfulness of the modern scale conceptual, vivid, thematic and expression field for the intensive creative searches of modern representatives of national puppet theatre. Meaningfulness of the creative inheritance by Lesya Ukrainka in the context of the Ukrainian puppet theatre is certified by it representation on the All-Ukrainian festivals, and also activation of it introducing to the modern repertoire of puppet theatre. Research of aesthetic parameters of the specific versions of Lesya Ukrainka’s works allows to establish the presence of certain repertoire dominants – such as the “Forest song”; gravitation to implementation of the earlier not typical for the puppet theatre works as the “Old fairy tale”, and the creation of original presentations, such as the “Lesya Ukrainka. Woman fate”, “Lesya’s letters” (in particular, on the base of epistolary inheritance by authoress). The specifics of embodiment of Lesya Ukrainka’s works in the Ukrainian puppet theatre of last XX – early XX century lays in their inter-textual modification, gravitation to creation of associative artistic space and to use the unconventional systems of dolls (plane- silhouette paper doll in presentation the “Old fairy tale”). In accordance with originality of conceptual foundation of Lesya Ukrainka’s works – drama of ideas – the modern stage directors appeal to the dramaturgical type that marked by secondariness of eventfulness relatively to poetics based on updating of palette of facilities of expressiveness and ideological concepts. Such innovations in “re-reading” of works by the authoress is a dialogue of doll and living acting, that creates two dimensions in development of action (“Stone Lord”, “Forest song”), the symbolic manipulations with the piece of paper (“Lesya’s letters”), creation of synthetic artistic space of the spectacle, that combine light, color, elements of shadows theatre and theatre of reader, living acting, work with the dolls of different constructions and like other, and also intention to the conscious limiting of facilities of expressiveness (monochrome and maximum narrowing space of scenic action in interpretation of the“Forest song”). An innovative touch in the puppet versions of Lesya Ukrainka’s works is the accentuation of mental markers of the national worldview, saturation with the national attributes and folk rites, which to the attraction of contemporary artists to revive the sources of national spiritual culture. In the pluralism of puppet representations, Lesya Ukrainka’s work is marked by a general tendency to philosophical and innovative affirmation of the national foundations of the worldview and the creation of a synthetic artistic space. Conclusion. Lesya Ukrainka’s work is an open and inexhaustible thematic line for the modern national puppet theatre not only due to the lack of an established tradition of its embodiment. Philosophical, symbolic, appealed to the foundations of the national worldview the contents of her work and unbreakable connection of it with world art culture – the attributive features of the creative world of the writer, which determine its timeless relevance for contemporary artists, the conceptual and expressive diversity of its interpretations.

NAXÇIVANLI YAZARLARIN YARADICILIĞINDA UŞAQ PYESLƏRİNİN İDEYA İSTİQAMƏTİ

This scientific article focuses on plays written only in regard to child literature by writers from Nakhchivan. Works written by some writers such as J.Mammadguluzada, A.Abbasov, A.Yadigar, Tofig Mutallibov, K.Agayeva, B.Iskandarli, Z.Vedili, T.Seyidov, S.Djanbakhshiyev etc are involved in research. Plays for children are the most important field in terms of influencing child's inner world and forming child's mindset. Considering these fact we can say that plays written by writers from Nakhchivan have great impact on the literal- aesthetical education of young generation. The dramaturgy of child and the youth has entered a new phase of development since 1960. Over these years the theme of child dramaturgy has so expanded that it has started to play a marked role in the education of young generation.In this field Puppet theatre named after Mammad Tagi Sidgi and Nakhchivan State Child theatre has immense services. Top priorities of these theatre are works written on a basis of Azerbaijan folk fairy tales. The recording of fairy tales are crucially important in this time when there is a considerable decline in book reading habits and fairy tales are getting forgotten gradually. The opportunities of this field in the enlightenment of children are extensive. Key words: Nakhchivan, dramaturgy, child, literature, play, spectacle

Wayang & Its Doubles: Javanese Puppet Theatre, Television, and the Internet, by Jan Mrázek

Wayang & Its Doubles: Javanese Puppet Theatre, Television, and the Internet, by Jan Mrázek

РОСТОВСКИЙ ТЕАТР КУКОЛ: «СТАРОЕ» И «НОВОЕ» В АРХИТЕКТУРЕ СОВЕТСКОГО МОДЕРНИЗМА

Rostov Puppet Theater is an interesting example of the early stage of Soviet modernism in the region. It has an unusual building history and originality. The building with laconic and simplified forms outwardly corresponds to the image of the mass development of the 1960–1970s. Special features distinguish the building from among similar buildings. These are scale and harmony with the environment, compliance with the residential complex House of State Security Officers, and mosaic panels. On the basis of field studies of the Puppet Theater, the study of archival materials and design drawings, the authors managed to clarify the facts of the history of construction, identify the features of the stylistics of modernism, features of the spatial and planning structure and the architectural and artistic image of the building. The method of comparative analysis is used, comparing the materials of full-scale and historical-archival studies of the Puppet Theater with the project documentation and preserved images of the Annunciation Church, on the site of which it was built. The internal volume of the theater includes the remains of the structures of the destroyed church. The building became a clear illustration of the collision of “old” and “new” in the architecture of Soviet modernism, a reflection of the processes of changing aesthetic ideas of the time.

ТЕМУРИЙЛАР ДАВРИДА ҚЎҒИРЧОҚБОЗЛИК САНЪАТИ

This article analyzes the views of Husayn Voiz Koshifiy on the puppet theaters (the art of puppetry) that were widespread in the Middle Ages in Central Asia. The article describes the wide popularity of the art of puppetry, even indicates the spread of this art among the representatives of sufism. The article also highlights the fact that Husain Voiz Koshifiy did not limit himself only to depicting the art of puppetry, but provided valuable information about the content and types of this art. The article also outlines the views of Husayn Voiz Koshifiy on what kind of behavior and qualifications people who practice the art of puppetry should have.Index Terms: Husain Voiz Koshifiy, scientific heritage, puppet theater, art, performance, stage, puppeteer, culture, social life, truth

EDUCAÇÃO PROBLEMATIZADORA NAS AÇÕES DE INTEGRAÇÃO ENSINO-SERVIÇO E PROMOÇÃO À SAÚDE NOS TERRITÓRIOS

Introdução: A disciplina de Saúde e Cidadania (SACI) da Universidade Federal do Rio Grande do Norte (UFRN) preconiza, pelo Arco de Marguerez, a aprendizagem vivencial para oportunizar intervenções nos territórios onde a disciplina ocorre. Objetivo: Relatar experiências de ações de promoção à saúde realizadas em equipamentos sociais de um território adscrito a uma Unidade de Saúde da Família (USF) do Distrito Oeste do Município de Natal/RN entre Maio a Junho de 2018. Metodologia: Estudo descritivo sobre intervenções realizadas e planejadas por dinâmicas da SACI voltadas às demandas de sensibilizar crianças em idade pré-escolar sobre a importância da higiene; viabilizar recursos financeiros e alimentícios para uma associação beneficente; estimular o autoconhecimento e a autovalorização dos idosos para reduzir abusos intrafamiliares e depressão, e apreender o contexto familiar de crianças de 2 a 5 anos. Comtemplou-se essas demandas, respectivamente, com a realização de uma peça teatral e um bazar, ambos em Associação beneficente; exposição de filme e dinâmica “para quem você tira o chapéu?” na Associação de Idosos e realização de um sandplay (jogo de areia) em um Centro Municipal de Educação Infantil (CMEI). Resultados: O bazar arrecadou alimentos e produtos doados e o teatro de fantoches sensibilizou as crianças sobre o cuidado com higiene bucal e corporal. A atividade com idosos enalteceu importância da escuta, do incentivo às relações inter geracionais saudáveis para o crescimento mútuo dos envolvidos e o sandplay apresentou densa participação das crianças. Conclusões: As intervenções obtiveram resultado positivo, possibilitando sensibilização dos discentes para o cuidado à comunidade e estimulando habilidades de comunicação oral, corporal e empatia.
 Palavras-Chave: Promoção da Saúde, Educação em Saúde, Atenção Primária à Saúde, Serviços de integração docente-assistencial.

GEOCONSERVATION AND ENVIRONMENTAL EDUCATION AT GEOPARK ARARIPE (CEARÁ) THROUGH DIDACTIC WORKSHOPS AND FIELD CLASSES

Environmental Education can be developed from the perspective of the diversity of experiences, and commitments, which have in common the transformation of society through education. In this process of environmental awareness, it is developed in the school space, or outside it, which is contemplated as determined entities, as in geoparks, it proves to be decisive for the understanding of the individuals or environments that surround them. Thus, the objective of this study is to analyze and work on non-school environmental education as a strategy in the process of geoconservation of geosites in the Araripe Geopark. Among the results, we can see that the geopark, mainly through the interpretation and environmental education centers, develop activities such as workshops for replicas of fossils, bio-jewels, puppet theater and cloth book, in addition to ecological trail and holiday camp. Many are extraordinarily important actions for regional geoconservation, as they are not public actions in important actions still carried out for the geopark conservation area

Antesala de un teatro de títeres moderno: Juan Enrique Acuña al frente de los "Títeres del Verdegay" y "Titiritaina" (1944-1960)

During the 40s, puppet theatre began to have an increasingly stable and visible presence in the artistic culture of Buenos Aires as a result of the work of puppeteers who in different ways modernized and legitimized puppet theatre as a theatrical form. Changes in the conception of childhood during the first part of the 20th century influenced the path taken by these artists. Children became productors and creators as well as consumers to whom it was necessary to offer quality products geared to their age. One of the artists who collaborated in this modernization process was Juan Enrique Acuña. His first two productions, "Títeres del Verdegay" and "Titiritaina," linked to traditional forms of puppetry, constitute a prelude during which Acuña established the lines that would characterize his later projects, including dramaturgical and technical innovations. We review the elements aligned with those traditional puppets and at the same time emphasize Acuña's innovations and his reflections on these projects as a first step in the construction of modern puppet theatre.

The art of puppet theater in the Temurian period

This article discusses what the Uzbek puppet theater looked like during the Timurid era. In particular, the puppet theater is referred to in a special chapter of Navoi’s epic “Hayratulabror” about the XIV century, and about the situation in the XV-XVI centuries in the treatise “Futuvvatnomaisultoniy” by Hussein Voiz Kashifi. In conclusion, the development of the Uzbek puppet theater during the Timurid period and its importance among the intelligentsia.

Developing Kindergarten Curricula According to Egypt's 2030 Vision

Egypt Education Vision 2030 Outlines a Long-Term Strategy to Establish Curricula for Education at all Stages. This Study Focuses on The Curricula of Kindergarten Stage. Puppet Theaters It is considered one of the influential curricula in the kindergarten stage, so this Study aims to design a proposed unit for the puppet theater curriculum according to Egypt's 2030 vision. the main goal of the proposed unit is to achieve the values of citizenship and belonging to kindergarten children. The research sample consisted of) 50(pupils in kindergarten in Fayoum Governorate; Results show differences with statistical differences at level of ≤ 0.05. Consequently, that shows a statistically significant difference between means of pupils' grades enrolled in the experimental group at the favor of the post application. Egypt Education Vision 2030 Outlines a Long-Term Strategy to Establish Curricula for Education at all Stages. This Study Focuses on The Curricula of Kindergarten Stage. Puppet Theaters It is considered one of the influential curricula in the kindergarten stage, so this Study aims to design a proposed unit for the puppet theater curriculum according to Egypt's 2030 vision. the main goal of the proposed unit is to achieve the values of citizenship and belonging to kindergarten children. The research sample consisted of) 50(pupils in kindergarten in Fayoum Governorate; Results show differences with statistical differences at level of ≤ 0.05. Consequently, that shows a statistically significant difference between means of pupils' grades enrolled in the experimental group at the favor of the post application.

ПРОБЛЕМА ТРАДИЦИОННОСТИ ЯРМАРОЧНОГО НАРОДНОГО КУКОЛЬНОГО ТЕАТРА В СЕРБИИ: «КУКУ ТОДОР», 1904-2021

During globalization and general universalization in society, issues of originality of certain forms and typology of heroes are raised, and not only in the theater, including puppet theater, but in all areas of culture. All this is an integral part of the process of searching for one's own national identity. The problem of traditionality is present in many segments of the culture of all peoples, including the Serbs. The issue of authenticity and tradition of the folk puppet theater "Kuku Todor" in Serbia, due to numerous reasons, is still far from being resolved. The words “tradition, traditional type, traditional hero…” are often mentioned in the context of this theater and its main character in Serbia. But what is behind this? Where did it come from among the Serbs, and why, when exactly do they return to it? What makes Kuku Todor a member of the great world brotherhood of puppet comedy heroes of folk theaters and in what ways do we find deviations from them? In this article, we partially consider the long-standing phenomenon of categorizing this performance as part of a tradition in Serbian theatrical culture, despite the lack of fixation of such a phenomenon in science. We will try to find answers to the questions before us, taking into account the historical facts related to the continuous wars in the Balkan spaces and,above all, in Serbia, which we are talking about.

Технології естетичного виховання особистості засобами театрального мистецтва

The article characterizes theatrical art as a combination of pictorial possibilities of different arts: literature, stage, painting, architecture, dance, etc. Characteristics, differences of types of theater are given: dramatic, musical (opera, operetta, ballet), pantomime, puppet theater, theater of small forms, which in a way influence the formation of the personality of the younger generation. It is shown that aesthetic education can be considered as a universal means of personal development based on the identification of individual abilities, diverse aesthetic needs and interests. The purpose of aesthetic education is determined, namely, on the basis of perception, interpretation of works of art and practical artistic and creative activity to form in a person a personal and valuable attitude to reality and art, to develop aesthetic consciousness, cultural and artistic competence, ability to self-realization, need for spiritual self-improvement. It is proved that artistic and pedagogical technologies are the most effective in the process of aesthetic education of personality; their structure contains: human resources (emotionally colored subject-subject interaction, a palette of forms and methods of organizing various types of artistic and creative activities), artistic and intellectual resources (works of art, artistic knowledge, ideas, meanings, values), technical resources (audiovisual, computer); types: local (specific methods for the development of certain skills and abilities), systemic (covering the holistic educational process, various arts). Forms and methods of art and game technologies (dramatization, pantomime, staging, dramatization) that contribute to the aesthetic education of the individual are presented.

Development and trial practice of teaching material for “Cancer and Immunity” education using puppet theater and supplementary reader in high school

Development and trial practice of teaching material for “Cancer and Immunity” education using puppet theater and supplementary reader in high school

Figuraszínház : Formálódó vizuális színházi műfaj a bábszínház, a performansz és a posztdramatikus színház keresztmetszetében

The subject of my paper is figurative theatre, a genre of visual theatre of German origins, that is, as of now, little known in Hungary. My goal is to review the history of the genre, to examine its connections with related genres, such as performance, post-dramatic theatre and puppet theatre, and to analyse it stage techniques and phenomenological attachments.

Női testek a bábszínpadon

Women are objectified on the stage of puppet theatre: they are puppets, with functional bodies crafted for the performance. At the same time, these heroines are feminised objects, who experience and perform their femininity through their object nature, the abilities and functions inherent in their bodies. This paper seeks to answer the question – how, and for what purpose should we use a puppet body that has a gendered identity.

Conceptualization of essence puppet theater's repertoir policy: modern vision

Conceptualization of essence puppet theater's repertoir policy: modern vision

The Fabulous Journeys of Alice and Pinocchio: Exploring their Parallel Worlds

The Fabulous Journeys of Alice and Pinocchio: Exploring their Parallel Worlds