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"Puppetry"
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The Routledge companion to puppetry and material performance
\"As an art form, puppetry has enjoyed a significant expansion over the past twenty years. This can be seen both in terms of its popularity in mainstream theatre and in the amount of attention that it now receives from an academic audience. This increased presence in the practical and theoretical realms is also underlined by a diversification in the definition of puppetry itself, with the term now being used to cover everything from found or traditional 'performing objects' to super high-tech projections and constructions\"-- Provided by publisher.
Book
Pull-the-strings
Pull-the-Strings presents a mapping model for digital puppetry based on a transparent framework to support generic device controllers and generic tools. Digital puppetry requires a creative interaction design, in particular in the way designers map the puppet to the puppeteer using specific devices. This process depends on a constantly changing interface technology, which limits the reuse of devices and mappings. This paper proposes a methodology and a set of tools that facilitate the mapping process, and promote the recycling of technologies. A flexible and generic environment independent from device specifications. By abstracting the hardware layer, the artist is motivated to think in terms of signal flow, establishing relations through meaningful mappings instead of handling the diverse specifications of each device and application. Pull-the-Strings is a data-flow ecosystem that focus on the functional usage of control signals. It provides a scalable environment for building semantic blocks that connect, transform and generate signals for the manipulation of virtual objects. Its goal is to make technology as transparent as possible, facilitating connections and reducing the obstacles between the performer and the performing object. On the other hand, it proposes an interaction design space that takes into account the manipulation and perception distance, responding to the specifications of the digital puppetry medium. This model was evaluated comparing a set of tools and methods with experienced and non-experienced users.
Journal Article
Puppetry : a reader in theatre practice
\"Theatregoers are increasingly aware of the growing use of object and figure animation throughout the performing arts. Puppetry offers engaging contemporary perspectives on this universal art-form. It provides an account of puppetry's different facets, from its demands and techniques through its uses and abuses to its history and philosophy. \"-- Provided by publisher.
Book
In Your Sight and in Your Mind: The Puppeteer as Cognitive Guide in Koryū Nishikawa V and Tom Lee’s Shank’s Mare
Audiences and scholars of puppetry performances often suggest that a puppeteer who has mastered the art is one who manages to be forgotten or ignored. However, the notion of the ignored and neutral puppeteer leaves out nuances of the puppeteers’ guiding of the audience’s experience and their emotional understanding of the production. In this article, I examine a scene from Shank’s Mare , a collaboration between master puppeteers Koryū Nishikawa V (Japan) and Tom Lee (US), to explore how puppeteers capitalize on inherent limitations in the audience’s perception and memory. Much as magicians do, puppeteers enhance spectators’ experience while obscuring their own performance strategies. Using gaze-tracking to study how audiences of puppetry attend to the different stage elements, I examine the gaze of viewers alongside artists and spectators’ interviews and performance analysis. My pioneering exploration accounts for processes audience members might not be aware of but that influence their experience. Using this method, I shed light on the comprehensive embodied knowledge that puppeteers have developed through their praxis and offer new avenues to explore the multilayered ways in which audiences engage with fiction.
Journal Article
Anima Art for Peace from Kharkiv, the City of Freedom
Julia Bilińska discusses the Anima Art for Peace project, created during the war in Ukraine by students and lecturers from the Department of Animation Theatre Acting and Directing at the Kharkiv National Kotlyarevsky University of Arts. Bilińska looks at the project and theatre in Ukraine from the intersection between the present and past. She reflects on the great histories of Kharkiv theatre, its avant-garde experimentations and the development of contemporary puppetry theatre. These frame her report on the resilient theatre created during the shelling and bombing of the city, first to help children, later as a communal therapy and, finally, as an aesthetic digital experiment. Arguing for theatre as a call for peace, she also presents Ukrainian theatre as a laboratory and inherently European practice. Bilińska’s essay adds to the discussions on precarity, affect and community in creative processes but also reveals new urgent methods related to digital puppetry and transmedia.
Journal Article
Translating Expertise across Work Contexts: U.S. Puppeteers Move from Stage to Screen
Expertise is a key currency in today’s knowledge economy. Yet as experts increasingly move across work contexts, how expertise translates across contexts is less well understood. Here, we examine how a shift in context—which reorders the relative attention experts pay to distinct types of audiences—redefines what it means to be an expert. Our study’s setting is an established expertise in the creative industry: puppet manipulation. Through an examination of U.S. puppeteers’ move from stage to screen (i.e., film and television), we show that, although the two settings call on mostly similar techniques, puppeteers on stage ground their claims to expertise in a dialogue with spectators and view expertise as achieving believability; by contrast, puppeteers on screen invoke the need to deliver on cue when dealing with producers, directors, and co-workers and view expertise as achieving task mastery. When moving between stage and screen, puppeteers therefore prioritize the needs of certain audiences over others’ and gradually reshape their own views of expertise. Our findings embed the nature of expertise in experts’ ordering of types of audiences to attend to and provide insights for explaining how expertise can shift and become co-opted by workplaces.
Journal Article
And of Clay We Are Created: Zahra Sabri's Count to One and the Material Ephemerality of War
Iranian theatre director Zahra Sabri’s dramaturgy layers performers and puppets, puppets and puppeteers, collapsing distinctions between the inanimate and the animate in ways that allow spectators more freedom to interpret her work. Her 2012 Count to One enacts the creation, animation, and destruction of clay puppets while telling a story of three soldiers who refuse to follow orders to bomb a foreign city.
Journal Article
‘Oh, This Is More of Stretch’s Show
This article outlines the popularity – and financial success – of an eighteenth-century Dublin puppet theatre that threatened mainstream theatres of the time. Randall Stretch’s puppet theatre, in Dublin’s Capel Street, became the centrepiece for satirical and political commentary of the day. Stretch’s theatre caught the attention of Dean Swift and his circle and is commemorated in satirical verse of the period. For decades, Dubliners used the phrase ‘This is more of Stretch’s Show’ to refer to anything outlandish or incredible. The article underlines the power of the puppet theatre as a satirical device and the extent to which it can rival mainstream theatre.
Journal Article
Bunraku: Japan's Elegant and Traditional Puppet Theatre
By the Edo period (c 1600s), the shamisen had been integrated with puppetry and narrative storytelling, and the art of the puppet theatre of Japan had been born. It was originally called ningyo-joruri, which means \"puppets and storytelling.\" The current name, Bunraku, was adopted in 1872 after puppeteer Uemura Bunrakuken, a man who was instrumental in keeping the art form alive. For more information, see Barbara C Adachi's (1985) book Backstage at Bunraku: A Behind-the-scenes Look at Japan's Traditional Puppet Theatre. Being a Bunraku puppeteer is a lifetime job or vocation. Young people learn by watching and listening, although now there is a Bunraku school that teaches the basics. Ten years is the accepted length of time for a junior to train on the legs, and then he is promoted to the left hand. Before taking on the legs of a main character, he may have spent many years manipulating the simpler minor characters. Puppeteers usually specialize in either male or female characters.
Journal Article