Art Media Series

Creating with Puppets

Lothar Kampmann
Van Nostrand Reinhold Company New York

Art Media Series

Creating with Puppets

Lothar Kampmann

Nostrand Reinhold Company/New York

lllustrations l l l u s t r a t i o n s in the t e c h n i c a l s e c t i o n are f r o m t h e a u t h o r ; the s t u d e n t s of t h e Ruhr T r a i n i n g Elementary tion of Teachers, College for Dortmund 13,); "Die Co.,

under

the

direction

of

Reiner

Schlamp, Hans-SachsGymnasium, N r n b e r g ; P u p p e t Theatre C o l l e c t i o n of M u n i c h ( p p . 6 6 - 7 4 ) . Photographsby Wilhelm Hohmann, Recklinghausen; Theatre Schlamp, Munich Puppet Reiner Werner Collection; Nrnberg; (p. 4 3 ) .

s e c t i o n ; t h e P u p p e t Theatre C o l l e c Munich Theatre ( p p . 3, 4 , Society; and Puppet 43); n

S p i e l b u d e " of N r n b e r g David the Strasmann Wuppertal-Ronsdorf. Appendix: students' work,

(pp. 35,

Stuhler-Bavaria

lllustrations Kindergarten Puppet

S p o n s o r e d by t h e G n t h e r W a g -

ner P e l i k a n - W e r k e , Hanover; and

K o h - I - N o r , Inc., 1 0 0 N o r t h Street, Bergen, N e w Jersey 0 8 8 0 4 .

work,

Theatre Society " D i e

Spielbude"

Germn edition 1969 by Otto Maier Verlag, Ravensburg, Germany. English t r a n s l a t i o n C o p y r i g h t 1 9 7 2 b y Evans B r o t h e r s Limited Library of C o n g r e s s C a t a l o g Card N u m b e r 71 - 1 4 2 2 1 7 A l l r i g h t s reserved. N o part of t h i s b o o k m a y be r e p r o d u c e d or u s e d in a n y f o r m or b y a n y m e a n s - g r a p h i c , e l e c t r o n i c , or mechanical, including photocopying, recording, taping,

or i n f o r m a t i o n s t o r a g e a n d retrieval s y s t e m s publisher. without w r i t t e n p e r m i s s i o n of t h e

P r i n t e d in Italy.

P u b l i s h e d in t h e United States of A m e r i c a , 1 9 7 2 , by V a n N o s t r a n d R e i n h o l d C o m p a n y , a D i v i s i n of Litton Educational Publishing, Inc., 4 5 0 W e s t 3 3 r d Street, N e w Y o r k , N.Y. 1 0 0 0 1 .

1 6 1 5 14 13 12 11 1 0 9 8 7 6 5 4 3 2 1

P u p p e t r y is i n d e e d an a n c i e n t art a n d is k n o w n b y m a n y a m e s a n d u n d e r m a n y guises in every c o u n try. P u p p e t s have been used f r o m earliest t i m e s t o t h e present d a y . They were the dolls w h i c h buried in the to graves represent were in of Egyptians sacrificed. personify were great

servants used to

w h o w o u l d o t h e r w i s e have b e e n They the gods Oriental

M y s t e r y Plays. T h e y b e c a m e f e t i s h d o l l s said t o b e e n d o w e d w i t h the p o w e r s of a n c e s t o r s a n d , of course, t h e d o l l s w i t h w h i c h w e p l a y e d as children. puppets But, to most O US, with are f i g u r e s w h i c h ,

rigid features R'ight: R o d - p u p p e t , ' G h o s t ' from 'Nightpiece' by R. Tescher, V i e n n a , 1 9 1 3 Left: G l o v e p u p p e t o f J a n Klaasen, t h e D u t c h P u n c h , w i t h Katrina, 19th century stage.

but lively gestures,

from a miniature

speak their lines

George Bernard S h a w once wrote that the dramatic influence t h a t of live a c t o r s . He said and unnatural of posture, od give pupthat an and pets h a d o n h i m w a s greater t h a n p u p p e t s , w i t h their stiff e x p r e s s i o n impression pictures

glass, a n d , d e s p i t e t h e i r

rigidity,

seem t o be more alive t h a n the

spectators who stand and watch

Foreword
'The Puppet play is blessed by

them. Puppets insinate themselves and their o p i n i o n s i n t o o u r m i n d s . T h e y are mere objects of wood and c l o t h , mere d o l l s w h i c h o b e y t h e hand that controls t h e m and havp n o w i l l of their o w n . In t h a t lies 3

G o d , a n d b e c a u s e of t h i s it w i l l never d i e ' says an Iridian proverb.

their

charm than

and if

their they

educative resembled

n f l u e n c e , for their e f f e c t o n us is deeper ourselves. Three aspects of and puppetry the have

educational valu: the making, the performance, watching of a n d l i s t e n i n g . In t h i s b o o k w e deal w i t h the making and staging p u p p e t s . There are f o u r basic t y p e s of puppets glove, s h a d o w , rod a n d s t r i n g . W e shall deal w i t h t h e s i m p l e s t a n d c h e a p e s t as w e l l as

the complicated, taking care

in every case t h e y really can

that be

made at home or in t h e c l a s s r o o m . Many b o o k s have b e e n w r i t t e n o n t h e art of m a n i p u l a t i n g a n d there are d e f i n i t e puppets, techniques

in m o v i n g t h e h a n d s a n d u s i n g t h e

yo.'Sg.- S f t J t o tend to do these

things automatically and without Javanese shadow-theatre t h i n k i n g , j u s t as t h e y a c c e p t , m o r e readily t h a n a d u l t s , t h e p u p p e t s as actors. It is just as G o e t h e said: This

childish entertainment and activity p r o d u c e d in m e s u c h a c a p a b i l i t y to crate and and and to act, as and had such exercised skill demanded

technique,

perhaps

c o u l d have o c c u r r e d in no o t h e r w a y , in so s h o r t a t i m e a n d c o n fined a space.

Home-made Puppets

Dolls

were

our

very

first

play-

c h i l d itself. T h e y never t a k e o f f e n c e

m a t e s . It never m a t t e r e d h o w b i g or s m a l l , or h o w t h e y w e r e m a d e , w e gave t h e m a m e s a n d a b i g place in o u r c h i l d ' s w o r l d , for d o l l s are t h e thoughts never interpreters and of a child's are play, the desires. T h e y or wiser than

and

always

give

the

answer
wonder whole

w i s h e d f o r , s i n c e the c h i l d a n s w e r s its o w n q u e s t i o n s . Little that children give their affection to them. Those were the dolls w i t h which -

f r i e n d s , never t o o t i r e d t o older

we played; here we rieal ^

p u p p e t s w h i c h c a n be ' p l a y e d ' w h i c h a s s u m e t h e role of actor,

a n d at w h i c h w e l o o k a n d listen. P u n c h a n d J u d y are e x a m p l e s . In this b o o k , as w e i n t r o d u c e t h e v a r i o u s t y p e s of p u p p e t s and s o m e of t h e c o u n t l e s s styles, w e move from the and simple suggest to complicated, dramatically. T h e g i f t s of i m a g i n a t i o n a n d i n v e n t i o n play t h e b i g g e s t part; t h e material is s u b o r d n a t e . A r t i s t s a n d c h i l d r e n d i s p l a y these g i f t s at their best, differentiatoH of cr,)
y

shall the ideas

for puppets that can be used

b,

i,

standard achieve.

perfection

they

First

Improvisation

p e r s o n a l i c e s . A n e x a m p l e of this w o u l d be t h e s m a l l c h i l d ' s game of ' F o r k is M o t h e r a n d S p o o n is Father' in w h i c h a s p o o n a n d f o r k are g i v e n features w i t h w a x c r a y o n s (easily w a s h e d o f f ) and hair of b u n c h e d w o o l .

A n y o b j e c t in a c h i l d ' s w o r l d c a n be a p l a y t h i n g : o r d i n a r y , e v e r y d a y i m p l e m e n t s s u c h as b o t t l e s , s l i p -

pers, eggwhisks can become puppets. They are and taken over unwith changed endowed

Slippers can be t u r n e d i n t o p u p pets by c r a y o n i n g features o n t h e soles, provide and nserting and a hand to to support animation.

T h e y can be m a d e t o appear talk, or to d a n c e t o g e t h e r . Spoon Puppets W e w i l l use w o o d e n arms and properly and

spoons painted

to and

m a k e our first real p u p p e t s .

Given

dressed t h e y w i l l have a d i f f e r e n t character crayon or improved appearwith It is ance f r o m t h o s e d e c o r a t e d coloured paper.

advisable to give the spoons a coat of size b e f o r e a t t e m p t i n g t o p a i n t t h e m , as t h i s w i l l seal t h e pores of

the w o o d and permit a smoother f l o w of p a i n t . A w i r e or w o o d e n c r o s s - p i e c e s a t t a c h e d t o f o r m t h e .h9Uldr and card their stage' this or felt f m s , after glued by on. their if which These rigid 'on the t h e y c a n be d r e s s e d , a n d h a n d s of ' s c a r e c r o w ' p u p p e t s are l i m i t e d in expression it is an tie the l i m b s . If t h e y are t o appear advantage arms with

Rod

Puppets

N o w w e have p u p p e t s w i t h m o v e able arms. but these arms mt :re(y dangle and s w i n g w h e n the p u p pet is t u r n e d f r o m side t o attach wrists thin with rods of w i r e t o thread, flexibly side. the of To make them move purposefully,

c o u r s e . By a d a p t i n g t h e

wooden

s p o o n p u p p e t t h e j o b is half d o n e , b u t it is far m o r e s a t i s f y i n g t o b u i l d a complete puppet from the beginning. A length of " dowel (or b r o o m s t i c k ) w i l l serve for t h e b o d y , w i t h w i r e or w o o d e n arms

arms c a n be m a d e t o m o v e . T o d o thread securely, b u t f l e x i b l y , t o t h e s h a n k of t h e s p o o n - a s p o t of g l u e w i l l seal t h e k n o t . 8

f a s t e n e d as for t h e w o o d e n s p o o n puppet. The most important is t h e head w h i c h c a n be part made

f r o m a w o o d e n b a l l , or o d t e n n i s ball or m o d e l l e d f r o m a p o l y s t y rene biock. with

AII

these can be
colour or

painted

poster

pasted w i t h c o l o u r e d paper. Puppets pecially cut from created lively. with Plstic a collage adhesive like eyes,

of m a g a z i n e

i l l u s t r a t i o n s are e s -

can be used t o f a s t e n o n features illustrations ears, nose a n d hair t o the w o o d e n 9

ball,

tennis

ball

or

polystyrene buttons

b l o c k . Y o u c a n also use

for eyes, s t r i n g for e y e b r o w s a n d hair, a cork for a nose a n d c a r d b o a r d f o r t h e ears. It is as w e l l t o g i v e t h e ball a c o a t of size b e f o r e p a i n t i n g or p a s t i n g . W h e n with Do a coatina, of not varnish contains a library compasteas plete t h e c o l o u r s c a n be m a d e fast polystyrene solvent.

varnish

10

The Jumping Jack puppet belongs t o t h e g r o u p of j o i n t e d , ' p l a y a b l e ' p u p p e t s . It is m a d e of a n d has very s i m p l e The cardboard in )yer which movements.

The ing

repertoire him into the

of J u m p i n g a rod limbs The puppet

Jack and

c a n be f u r t h e r d e v e l o p e d b y t u r n giving independent rod must be

l i m b s are a c t i v a t e d

m o v e m e n t by p u d i n g their s t r i n g s individually. fastened firmly to the body.

fashion w h e n the ring, to

all t h e strings are t i e d , is p u l l e d . T h e j o i n t s c a n be m a d e w i t h paper f a s t e n e r s , as t h e i l l u s t r a t i o n s h o w s . Generally the puppet is hung prevent against a b a c k g r o u n d to

T h i s p u p p e t c a n be o p e r a t e d f r o m a b o v e , like a m a r i o n e t t e , p r o v i d i n g the strings are fastened to the h a n d s a n d feet.

s p i n n i n g , its m o v e m e n t s t h e r e f o r e are l i m i t e d t o a s i n g l e p l a e w h e n t h e r i n g is p u l l e d . 12

Shadow Now to

Plays a type of rod puppet

which has a particular purpose.

T h i s is t h e s h a d o w p u p p e t w h i c h , d e s p i t e its l o n g h i s t o r y of use in t r a d i t i o n a l p l a y s of t h e Far East, still e n j o y s a w i d e p o p u l a r i t y . T h e puppet is held, and operated 13

against a white sheet and

in f r o n t

of a s t r o n g light w h i c h i l l u m i n a t e s t h e sheet w h i l s t t h e b l a c k f i g u r e s act t h e i r play in s i l h o u e t t e . not always The be silhouettes need

s o l i d black. Paler, a n d s o m e t i m e s coloured s h a d o w s will add excitement to the p l a y . Solid f i g u r e s c a n be made in outline resembling The black-on-white drawings.

o u t l i n e s t h u s f o r m e d c a n be f i l l e d in with c o l o u r e d t r a n s p a r e n t paper. A c o m b i n a t i o n of these methods g i v e s t h e s h a d o w play a c h a r m i n g e f f e c t of b l a c k o u t l i n e a n d g l o w ing c o l o u r .

14

Simple Hand simplest form

Puppets the of hand puppetry

very b e g i n n i n g of t h e art. A h a n d -

T h e k n o t p u p p e t is p r o b a b l y

kerchief is held in t h e p a l m of t h e
hand with a knot the tied in it to represent head. The thumb

a n d has b e e n t r a c e d b a c k t o t h e

a n d m i d d l e f i n g e r a c t as arms WhilRt t h o r , . ^ & aupports the h e a d a n d gives it m o v e m e n t : its a p p e a r a n c e is e n h a n c e d by t h e p a i n t i n g of a face a n d by d r e s s i n g it u p w i t h scraps of o t h e r materials. T h i s t y p e of p u p p e t c a n be g i v e n more character by decorating a small cardboard tube w i t h paint

or c o l o u r e d paper a n d f i t t i n g it over t h e k n o t . It has n o w ceased t o be iust a

simple handkerchiet.
Heads

Puppet

A n o t h e r s i m p l e k i n d of p u p p e t is the finger p u p p e t created by fitting a c a r d b o a r d t u b e over t h e ndex finger to form the head and neck. 15

If the tube y o u w i s h t o use is t o o

l o s e , a better fit c a n be o b t a i n e d by w i n d i n g a strip of card a r o u n d t h e inside of t h e t u b e as s h o w n in t h e i l l u s t r a t i o n . A circle of t h i c k s t r i n g is g l u e d a r o u n d t h e n e c k t o act as a s h o u l d e r s u p p o r t for t h e clothing.

T h e c l o t h e s are s i m p l y m a d e : t h e p a t t e r n c o n s i s t s of t w o i d e n t i c a l shapes ( f r o n t a n d b a c k , as i l l u s -

trated) t h a t are stitched together

a n d then turned right-side out t n

form d g i o v e . A c o l o u r e d thread drawc a n be used t o pul t h e

n e c k t o g e t h e r a b o v e t h e ring of s t r i n g . A n u m b e r of these dresses c a n b e m a d e easily a n d c h e a p l y to faciltate the quick changes of c o s t u m e necessary t o t h e progress of t h e play. Very practical p u p p e t h e a d s c a n be m a d e f r o m corrugated

paper

w h i c h is w o u n d a r o u n d t h e f i n g e r and d r a w n d o w n slightly, making a t u b e l i k e n e c k . T a k e care t o leave a small r i d g e at t h e base of t h e n e c k t o act as a s h o u l d e r s u p p o r t f o r t h e c l o t h i n g . In t r i m m i n g a n d d e c o r a t i n g this t y p e of h e a d m u c h c a n be d o n e t o crate e x c i t i n g a n d d r a m a t i c features u s i n a n i * * ^ ' 17

c o r r u g a t e d paper. Before p a i n t i n g , seal t h e head w i t h library as d e s c r i b e d o n p a g e 1 0 . T h e c a r d b o a r d t u b e c a n also be used as a base o n w h i c h t o b u i l d a featured modelling like clay The tube and then head using a plstic moulds which sealed material, that and dries hard, paste,

can be o b t a i n e d f r o m art s h o p s . should coated first be with a

plstic

material so as t o p r o v i d e a key; w h e n this is d r y t h i c k e r layers can be a d d e d for m o d e l l i n g .

Y o u m a y prefer t o use t h e c h e a p e r paper-layer winding pasted method. layers around Begin of the by welltube, many paper

paper t h a t is p i n c h e d a n d s q u e e z e d into shape. the also

Painting the head completes by matt varnishing which

b u i l d i n g u p t h e f o u n d a t i o n for t h e f e a t u r e s , w h i c h can be f o r m e d b y u s i n g layers of p a s t e - s o a k e d tissue

j o b . A l l c o l o u r i n g w i l l be i m p r o v e d makes the head more durable.

Now

let

us

deal

with

heads

m o d e l l e d in t h e real sense of t h e w o r d . T h e s i m p l e s t w a y is t o use the plstic dries in modelling bone-hard children's material, and play. will The it w i l l which receive

stand the k n o c k i n g - a b o u t

hOd 6 I R fee p a t e d or v a r n i s h e d . In these p i c t u r e s t h e t u b e p u p p e t is by painted, hand, pasted being and dressed at the a c c o r d i n g t o f a n c y . It is w o r k e d grasped lower end.

20

This solid head will t o o h e a v y for y o u r

possibly

be

requirements,

a n d in this case, p o l y s t y r e n e c a n be t h e a n s w e r . T h i s is very l i g h t , a n d t h e plstic m o d e l l i n g material very h a r d a n d d u r a b l e , even in t h i n layers. So these t w o matpriaic an ideal c o m b i n a t i o n . M a k e a t h i n ' p a n c a k e ' of t h e m o d e l l i n g material and lay it over to roll the polystyrene tube the is b l o c k , c o v e r i n g it c o m p l e t e l y , n o t forgetting and the to a finger into material insert it f i r m l y

b l o c k . In a r e a s o n a b l y s h o r t t i m e plstic modelling dry and hard, and then the features, etc. c a n be a d d e d t o t h i s base. Perhaps n o t so l i g h t b u t c h e a p e r is t h e papier-mach head. This c a n be m a d e in several w a y s . O n e

21

is t o roll a n d c r u m p l e

newspaper it well strips, tightly and

into a firm ball, binding into well it. N o w coated it to wind with give paper paste, it

w i t h string and g l u i n g a finger tube

around

form

f i r m n e s s . Paper t o r n u p very fine a n d k n e a d e d w i t h paste is used t o f o r m t h e details a n d f e a t u r e s , a n d mtehtick c a n serve as an inner support instance. paste as for Do it a long nose, the for much not use t o o

makes

material

s o g g y a n d is t h e n d i f f i c u l t t o s h a p e . P a p i e r - m c h heads are n o t easy t o h o l d a n d w o r k o n . So stuck the into a bottle head is f i n a l l y mould dry. when and t h e m o n t o a stick w h i c h c a n be neck to painted T h i s takes s o m e t i m e , b u t

m a t t - v a m i s h e d it w i l l seem w o r t h the effort. 22

A t t h i s stage h a n d s a n d f e e t c a n be a d d e d t o t h e g l o v e , t h e f o r m e r being fastened to cardboard tubes into w h i c h t h u m b and finger can be inserted so t h a t t h e a r m s c a n gesticulate. When making the

h a n d s , e s p e c i a l l y if t h e y are t o have seprate f i n g e r s , a n d w h e t h e r plstic modelling make tube. material or papierof wire umy m c h is u s e d , it is a d v i s a b l e t o a little f r a m e w o r k For the fot, w h i c h c a n be f a s t e n e d t o t h e arm tvhJi d a n g l e , little w o o d e n b l o c k s , p a i n ted and varnished, will suffice. Mask realm child Puppets of t h e who mask then puppet. becomes The the

N o w for a brief i n c u r s i n i n t o t h e m a s k is p u l l e d over t h e h e a d of t h e p u p p e t . For t h i s , t o o , w e need a tube, a cylinder big e n o u g h to go over t h e h e a d , ears a n d n o s e , a n d t o rest o n the s h o u l d e r s . O n e c a n t h e n d e t e r m i n e w h e r e t h e eyes are t o b e , for t h e player m u s t see, of course! The illustration shows s o m e of t h e m a n y w a y s o n e c a n make and decrate such masks. 23

A Variety of

Heads m e t h o d of con-

is laid layer u p o n layer of tissue paper e a c h c o a t e d w i t h paste. A s tissue eight paper layers is so t h i n are at least To use a comnecessary. coverage head is

The paper-layer

s t r u c t i o n lends itself readily t o t h e m o d e l l i n g of m o r e realistic features whilst maintaining from strength with l i g h t n e s s . T h e basic m o d e l is m a d e Plasticine, using modelling tools to obtain the fine detail. A c o a t i n g of paste is a p p l i e d t o t h e surface of t h e m o d e l o n t o w h i c h 24

ensure a p r o p e r layers. W h e n pletely the

d i f f e r e n t c o l o u r tissue for altrnate d r y c u t it d o w n t h e m i d d l e The two halves are

w i t h a sharp k n i f e a n d r e m o v e t h e Plasticine.

glued together and the joint made g o o d w i t h a f e w layers of pasted tissue. W h e n dry the h e a d can be painted and matt-varnished. If an e v e n m o r e d u r a b l e h e a d is r e q u i r e d plstic w o o d , i n s t e a d of

p a p e r - l a y e r s , is a p p l i e d over t h e P l a s t i c i n e after completely

"

thick When can

applying

a c o a t of p e t r o l e u m jelly.

d r y this m a t e r i a l
to a i c d d y

hft c a n d e a l

Tine tinistl.

P u p p e t heads c a n be c r e a t e d f r o m a wide tennis variety of materials But finally and we from f r o m table t e n n i s balls, skittles a n d balls, e t c . must mention those carved

w o o d . A s these are s o l i d t h e y are comparatively heavy, and t h o u g h d u r a b l e , are p e r h a p s best left t o t h e m o r e s k i l l e d . T h e best w o o d s for t h e p u r p o s e and poplar. are l i m e , maple is very Balsa w o o d

l i g h t a n d easy t o c u t a n d f i n i s h , b u t is easily d a m a g e d . 25

Before w e m o v e o n t o t h e m a r i n ettes, a f e w inexpensive f o r m of Theatre. words and, in on a lively, edible fact,

puppetry. the Apples, pears,

Vegetable oranges,

onions, lettuce, potatoes, carrots, etc., are t h e actors. S t u c k o n t o a stick, a r o u n d w h i c h is t i e d a n a p k i n or d u s t e r , e a c h f r u i t or v e g e t a b l e c a n play its o w n role the sharp o n i o n , t h e bitter l e m o n , t h e playful lettuce and the d o w n - t o arth Carrol - Vn f n l y t o speak of its o w n q u a l i t i e s . N a t u r a l l y t h e life of these actors is e p h e m e r a l and they therefore should be puppets whose movements from are r e t u r n e d t o t h e k i t c h e n as s o o n as p o s s i b l e after t h e final c u r t a i n ! Marionettes In c o n t r a s t t o t h e p u p p e t s s h o w n so far (glove, finger and rod puppets) 26 marionettes are s i m p l y controlled, shown usually in its above, and about

solely by s t r i n g s . T h e p r i n c i p i e is here clearest simplest f o r m . A string tied to a piece of c l o t h and jerked q u i c k l y or s l o w l y c a u s e s t h e c l o t h t o d a n c e a n d leap a b o u t . A b i g g e r

c l o t h , s u s p e n d e d f r o m a stick by two or m o r e s t r i n g s is a f u r t h e r step t o w a r d s t h e m a r i o n e t t e . W h i l e o n e h a n d m o v e s t h e stick in the general direction, the other makes particular movements by pulling on the individual strings.

I n t e r e s t i n g m a r i o n e t t e s c a n easily be d e v e l o p e d w i t h l i m i t e d m a t e r i als. A t t a c h i n g a d d i t i o n a l s t r i n g s or, say, little b l o c k s of w o o d i m m e d i ately creates a n e w a c t o r , a n d t h e way is open to the abstract marionette.

27

There

is v i r t u a l l y

nothing

which pro-

c a n n o t be e m p l o y e d in t h e

d u c t i o n of t h i s k i n d of m a r i o n e t t e . A l l these o b j e c t s h a v e characters of their own and can be given parts t o play. A l o o k t h r o u g h t h e j u n k in t h e attic or cellar w i l l o f t e n reward you with the unlikely o b j e c t s u i t a b l e for t h i s p u r p o s e . The marionettes s h o w n up to n o w have been abstract characters, s i m p l e m o v e m e n t b e i n g their p r i mary q u a l i f i c a t i o n . T h e y have n o t r e a c h e d t h e stage of h a v i n g l i m b s which are move independently, by their and restricted limited

c a p a b i l i t i e s . W h e n o n e leaves this t y p e for t h e f i g u r e m a r i o n e t t e , t h e p o s s i b i l i t i e s are endless.

In

these

puppets

the

materials

are used in their n a t u r a l state, b u t are r e s h a p e d a n d r e o r g a n i z e d . Controlling the When one looks Figures at these new obvious more more possi-

f Q J f i i i is mmed'iateiy

t h a t t h e s i m p l e string c o n t r o l is n o t g o i n g t o be s u f f c i e n t . T h e elabrate intricate the and figure, elegant the the

bilities of m o v e m e n t . T h e a p p a r a t u s c o n t r o l l i n g t h e m o v e m e n t has to function accurately, control as one motion often depends on another. There are m a n y type is best, systems the a n d it is i m p o s s i b l e t o say w h i c h but generally to control the 30 is d e s i g n e d faciltate of the

t h e s t r i n g i n g necessary t o p r o d u c e movements required

p u p p e t . It is essential t h a t

each

moving
attached seprate depends

part
to

of
the

the

puppet
by amount the

is
its of

control

string. The mainly

c o n t r o l exercised over t h e p u p p e t upon puppeteer's p a t i e n c e , i m a g i n a t i o n a n d , a b o v e all, w i l l i n g n e s s t o practise. The controls are of three basic types: 1 . T h e rigid cross has a very l i m i ted range of movements. and is r o c k e d It is and g r i p p e d f r o m a b o v e in t h e of t h e turned. 2. T h e f l e x i b l e scissors cross has t h e s a m e r a n g e of m o v e m e n t as 1, but gives a slight improvement t o t h e f o r w a r d m o v e m e n t of t h e limbs. 3. T h e t h i r d v e r s i n of +~ c o n t r o l is j o i n t e d w i t h a s h o r t l e n g t h of c h a i n or c o r d , t h u s permitting greater each range member This and to move a subtle independently. movements. Also illustrated but you are will examples notice of that allows more hand palm

c o n t r o l s d e s i g n e d for specific p u r poses, with and basically t h e y are cross additional imagination string should controls supports. attempt

O n l y s o m e o n e w i t h t e c h n i c a l skill at t h e b e g i n n i n g t h e m o s t d i f f i c u l t 31

forms

of

control.

The

mess

of a

t a n g l e d strings r e s u l t i n g w h e n

p u p p e t is d r o p p e d is very d i f f i c u l t t o sort o u t . In f a c t m a n y p u p p e t e e r s prefer t o restring rather t h a n u n t a n g l e . A l w a y s a i m at t h e s i m p l e s t possible form of stringing snd c o n t r o l for every p u p p e t y o u m a k e . Marionettes from Materials A s w i t h abstract p u p p e t s , m a r i o n ettes almost can be constructed The from anything. materials Various

e m p l o y e d , if u n p a i n t e d , can o f t e n s g g e s t or reflect t h e c h a r a c t e r of t h e part t h e y play. O n t h e f o l l o w ing pages are illustrated a variety of p u p p e t s m a d e f r o m a variety of materials, s u c h as c a r d b o a r d cartons and tubes, metal foil, b r o o m sticks a n d t i n - c a n s . A large c a r d b o a r d t u b e w i l l serve as a b o d y on to w h i c h can be

32

f a s t e n e d smaller t u b e s t o r e p r e s e n t the head and can and be neck, arms and hands which legs a n d feet, all of flexibly jointed.

t h e d e g r e e of f l e x i b i l i t y . T h i s is t h e basic a r r a n g e m e n t of parts from w h i c h all t y p e s of m a r i o n e t t e can be c o n s t r u c t e d . T h e f i n a l a p p e a r anee of y o u r m a r i o n e t t e s w i l l d e p e n d u p o n t h e d i v e r s i t y of abilities. your

S i m p l e j o i n t s c a n be m a d e w i t h needle a n d t h r e a d , t h e n u m b e r of s t i t c h e s at e a c h j o i n t d e t e r m i n i n g

These f i g u r e s c a n be p a i n t e d a n d / or d e c o r a t e d w i t h c o l o u r e d paper, or, if m a d e f r o m c o l o u r e d I n d i a n ink. Cardboard tube figures have, of cardin b o a r d , features can be a d d e d

c o u r s e , a rather s h o r t life: t h e y g e t s o i l e d a n d c r u m p l e d a n d lose their a t t r a c t i v e n e s s . B u t t h e y h a v e set a pattern for f i g u r e - b u i l d i n g out o f seprate parts and t h e o n l y n e w skills t o be l e a r n e d , w h e n b u i l d i n g puppets material, from are a more of durable jointing. those

Bodies w i t h formalized limbs can 34

be

made

from

wooden

lath

or

a n d k n e e , etc. T h e

sophisticated

d o w e l b o u g h t in t i m b e r y a r d s or hobby shops. Connecting the seprate parts c a n be s i m p l e or c o m plex depending on what is rewith q u i r e d of t h e j o i n t : a nail h a m m e r e d i n t o each part a n d s e c u r e d

m a r i o n e t t e w i l l , of c o u r s e , require its j o i n t s t o be neater a n d p r o b a b l y more complex the puppet on p a g e 3 6 illustrates t h i s . Finally a w o r d a b o u t h a n d c a r v i n g m a r i o n e t t e s . It is essential t o have good from tools. tools hardware Proper can and cutting be and carving obtained art-supply

s t r i n g is s i m p l e , b u t l i m i t e d . L i n k e d s c r e w eyes p r o v i d e a s i m p l e u n i versal j o i n t for use at t h e joint c a n be used at t h e neck, elbow t r u n k a n d s h o u l d e r . A leather s t o p -

s h o p s . A n d if y o u have access t o a

35

w o o d w o r k bench f r o m t h e p o i n t s of a n d safety t o use the material w i t h working. 36

it is a d v i s a b l e v i e w of f a c i l i t y the vice to grip w h i c h y o u are

In

carpenters'

workshops

there

are all sorts of scraps of w o o d t h a t , s a n d e d a n d v a r n i s h e d , can p r o v i d e t h e r a w material for c r e a t i n g i m a g i native f i g u r e s .

Should

you

find

that

the you

solid could

intelligently. That puppeteer all t h e must movements

is t o he

say,

the that

w o o d m a r i o n e t t e is t o o h e a v y for prolonged handling, make the heads, bodies and limbs l i g h t e r by u s i n g plstic m o d e l l i n g material, or papier-mch in the manner over deyou plstic polystyrene modelling

understand

produces

are t h e result r>f h ; C h a n d i i n y u r m e s t r i n g s . If all t h e s t r i n g s are released t h e l i m b s w i l l h a n g l i m p l y in t h e inimitable marionette fashion.

s c r i b e d o n page 2 1 . T h e

material w i l l g i v e

l i g h t n e s s w i t h reasonable s t r e n g t h , a n d if t h e m o d e l l i n g is c a r e f u l l y d o n e s c r e w eyes, c o r d a n d leather t h o n g s c a n easily be w o r k e d i n t o the material w h e r e they will be g r i p p e d as if g l u e d as t h e p u p p e t hardens. T h e m a r i o n e t t e is q u i t e a c o m p l i c a t e d a p p a r a t u s ; it d e p e n d s u p o n g r a v i t y a n d n e e d s t o be handled

In t h i s b o o k w e have d e l i b e r a t e l y s h o w n the s i m p l e s t f o r m s of c o n t r o l m e c h a n i s m s . In t h e i l l u s t r a t i o n a b o v e is an e x t r e m e l y intricate e x ample, w h i c h ment of permits the and movelimbs, head, body

i n c l u d i n g h a n d s a n d feet. S u c h a c o n t r o l w o u l d be d e s i g n e d s p e c i fically to fit the hand of the that operator normally 'playing'

marionette. 37

A Small Digression: and the Trick Film

Puppets

A w o r d a b o u t p u p p e t s for t h o s e w h o m i g h t e n j o y trick c i n e p h o t o graphy. The inanimate object can be made to appear moving by still the joining after a together small a series of alteration in

p h o t o g r a p h s , each still b e i n g t a k e n p o s i t i o n of t h e m o d e l . Plasticine

f i g u r e s are ideal for the b e g i n n e r .

Later, f u l l y m o d e l l e d f i g u r e s require a m o d e l t h a t c a n

can

t h e m o d e l is h o m e - m a d e ' . for

ex-

be u s e d . For t h i s p u r p o s e y o u w i l l remain f i x e d in e a c h of t h e p o s i t i o n s set. A c h i l d ' s dol is an o b v i o u s c h o i c e , b u t h o w m u c h m o r e s a t i s f y i n g if

ample the stocking puppet, stuffed w i t h rag or s a w d u s t , a n d w i t h an inner f r a m e w o r k permitting the of f l e x i b l e position of wire the

m o d e l t o be c h a n g e d step by step.

40

The World's a Stage

A s has been s u g g e s t e d earlier a stage is n o t a b s o l u t e l y for t h e play, ties production such by of but necessary a puppet are of us 1 . If t h e b o x is t o be held in o n e hand and the cardboard cut-out puppets operated w i t h the other, t h e slots b y w h i c h t h e p u p p e t s are introduced have to on to the stage will the be c u t right across c o n s i d e r t w o or t h r e e s i m p l e t y p e s of t h e a t r e . T h e s h o e - b o x is perhaps the most make and to theatre to simple

productions the theatre let

oprate. Two methods

l i m i t e d in s c o p e w i t h o u t t h e f a c i l i afforded traditional type. Therefore

are o p e n t o us:

f l o o r of t h e stage f r o m side t o side. 2. Greater f l e x i b i l i t y of m o v e m e n t c a n be o b t a i n e d b y i n s e r t i n g t h e self-supporting figures

v o r t . \ , a f

from
aiutfj

the

Winps'

thrm

!>>>

in

t h e sides of t h e b o x : t h e p u p p e t s b e i n g o p e r a t e d b y m e a n s of rods of w i r e f a s t e n e d t o t h e f i g u r e s at right-angles. W i t h the hands are free to Shoe-box both the T h e a t r e resting o n a t a b l e , oprate puppets. To can cater be for larger audiences a a

b i g g e r , b u t similar t y p e of t h e a t r e made from larger scenery. of cardboard and movit will cartn, into w h i c h duced able types At c a n be i n t r o this but stage this

puppets

b e c o m e s feasible t o use t h e o t h e r puppet, necessitate s t r e n g t h e n i n g a n d s u p 41

porting the cardboard cartn theatre o n a w o o d e n f r a m e w o r k . If t h e floor of the the stage one is made rewi movable, theatre

s u f f i c e for m o s t needs. T h e f l o o r w o u l d be r e m o v e d for t h e o p e r a t i o n of g l o v e a n d rod p u p p e t s f r o m b e l o w , and replaced w h e n operating cardboard cut-out puppets f r o m t h e side, or m a r i o n e t t e s f r o m a b o v e . P e r f o r m a n c e s w i l l be e n hanced if the puppeteers are hidden from the audience's view. T h i s can be a c h i e v e d q u i t e s i m p l y with the addition of a broad cardboard surround suitably painted and decorated.

42

S c e n e r y can be p a i n t e d as s i m p l y or as d e t a i l e d as y o u w i s h . Sheets of stiff paper, or c a r d b o a r d durability is will suffice for t h e s h o r t - l i v e d p r o d u c tion, but for paint on a plstic In canvas advised.

Musical accompaniment portable recorder. produced paratus here record Sound with pot the our like player very

presents and can tape be apfoil,

little d i f f i c u l t y in these d a y s of t h e effects

simple

lids, m e t a l record aid with

d e s i g n i n g y o u r scenery r e m e m b e r t h e b a c k r o w of t h e a u d i e n c e a n d be b o l d in p r o p o r t i o n a n d careful in t h e actor. can use of The be colour: remember backdrop by t h a t it s h o u l d n o t o v e r w h e l m t h e cardboard

peas in a t i n or o n a tray, etc. B u t again to industry a wide comes

v a r i e t y of e f f e c t s o n d i s c . Effective produce is t o properly should be be lighting but if used the is simple advice of to a

made

self-standing

mains

electricity electrician

f o l d i n g , b u t c a n v a s or paper w i l l n e e d a rod at t h e t o p a n d w e i g h t s at t h e b o t t o m t o e n a b l e it t o be h u n g at t h e b a c k of t h e stage.

qualified obtained.

Puppetry in School
In t h e f o r e w o r d three aspects of educationally ing and we stated the that are prois, of ing to circumstances of t h e c h i l d r e n , t h e of the c u r r i c u l u m class. A desire to make puppets can the ages time-

puppetry

requirements

valuable:

and the

d u c t i o n , t h e play itself, a n d w a t c h listening. This c o u r s e , very m u c h a generaliza-

t a b l e , a n d t h e t e c h n i c a l skill of t h e

r o n , a n d it is t r u e t o say t h a t it w o u l d h a v e n o v a l i d i t y at all w i t h e d u c a t i o n g e n e r a l l y or w i t h art a n d craft particularly if, merely to p r o v i d e an u n c r i t i c a l f i l l - i n l e s s o n , a h a l f - h e a r t e d a t t e m p t is m a d e t o knock together a puppet of inan determinable character, with

arise if for s o m e t i m e t h e c h i l d r e n have b e e n m o d e l l i n g a n d c r e a t i n g character given have figures that a could number will an be they of often roles t o the play. W h e n

completed

models

children presents

express t h e w i s h t o m a k e a p u p p e t play. T h i s excellent o p p o r t u n i t y of e m p l o y i n g p u p p e t s t o p r o v i d e a f o c a l p o i n t in a lesson.

oversimplified script designed only t o arouse l a u g h t e r . The production theatres of puppets and

Many

subjects can benefit

from

puppet

should

always technical

their use; L a n g u a g e by t h e w r i t i n g of a play for p r o d u c t i o n ; History by t h e research i n v o l v e d in t r a c i n g t h e b e g i n n i n g s of p u p p e t r y ; G e o -

pose s o m e artistic a n d problems. The play should

always

have a

g r a p h y b e c a u s e pnnpptry hac all o v e r t h e w o r l d . In fact, puppetry can p r o v i d e t h e basis for an a l m o s t t o t a l i n t e g r a t i o n of studies.

theme

involving

language

and

literature. Watching and listening should

a l w a y s be an act of w i t h t h e play.

involvement

The

simplicity

or

complexity

of

t h e w o r k required of t h e c h i l d r e n w i l l d e p e n d largely u p o n their age, t h o u g h this d o e s n o t a l w a y s f o l low. Where children have of had previous experience working

Finally, w e d o n o t just w a l k

into

t h e class a n d say. ' T o d a y w e are g o i n g t o m a k e p u p p e t s ! ' T h e idea should orignate from some previous occasion and develop a c c o r d 44

w i t h p a i n t a n d clay t h e y w i l l have g a i n e d a d e x t e r i t y a n d an u n d e r -

standing

and

feeling

for

artistic

J u d y t y p e of f i g u r e s . It s h o u l d be e x p l a i n e d t h a t , apart f r o m h a v i n g h a n d s a n d feet a n d p r o p e r c l o t h e s ,

matters t h a t m a y w e l l be b e y o n d t h e a b i l i t y of m a n y a d u l t s . T h e r e fore, depending u p o n the ment ject they is have to

ability
the most

the eatures ot each head will need

to be obviously different. An a m u s i n g a n d s i m p l e w a y of e f f e c t ing this w o u l d be t o set a t h e m e of, say, ' T h e People In O u r T o w n ' a n d to produce caricatures of those best k n o w n . Set a t h e m e like ' A l l

of t h e c h i l d r e n a n d t h e e n c o u r a g e received, be the teacher w i l l determine w h i c h prolikely rewarding. A f t e r a s u b j e c t for a play has b e e n d e c i d e d u p o n there w i l l be c o n siderable c o m p e t i t i o n a m o n g t h e children to model the principal c h a r a c t e r s . A t t h i s p o i n t it w i l l pay to discuss the w o r k seriously w i t h all t h e puppet children, explaining heads are not the that only

Sorts of S t r a n g e B e i n g s ' a n d armies of m o n s t e r s , m e n f r o m M a r s a n d r o b o t s w i l l appear as their i m a g i n a t i o n s are released t o run riot. T h e c h i l d r e n w i l l be best able t o suggest ames and characters and v o i c e s for t h e p u p p e t s t h e y have made which themselves. have The groups together worked

t h i n g s of i m p o r t a n c e t o be p r o d u c e d : t h e r e are t h e c l o t h e s , t h e stage a n d s c e n e r y a n d , e v e n t u a l l y , the lighting and sound effects a p p a r a t u s . T h e w o r k can t h e n be shared o u t , each c h i l d , or g r o u p of children, being assigned a specific task m o s t s u i t e d t o their abilities. A p r o m i s e s h o u l d be g i v e n t h a t all their preparatory work will be utilized in t h e p r o d u c t i o n of t h e play. In this w a y e v e r y o n e w i l l feel t h a t t h e y have m a d e a really useful c o n t r i b u t i o n . It m a y be necessary t o r e m i n d t h e m o d e l l e r s t h a t their skills, developed when working w i t h clay, p a p i e r - m c h , etc., n o w d e m a n d a h i g h e r s t a n d a r d of w o r k t h a n t h a t n e e d e d in t h e p r o d u c t i o n of their earlier, p r i m i t i v e P u n c h a n d

s h o u l d be e n c o u r a g e d t o p u t o n an e x t e m p o r e playlet. T h i s is a particularly fruitful form of activity come because such playlets will nations. The Play Playing velop subject. with The puppets ability helps for feel to dethe as a child's empathy

directly f r o m the children's imagi-

t h o u g h he h i m s e l f w e r e

treading

the stage, and mentally acting the p u p p e t ' s role, d e v e l o p s c o n c e n t r a t i o n s a n d o b s e r v a t i o n . His m a n i p u lative skills are also d e v e l o p e d as he c o p e s with the problems of t r a n s l a t i n g his w i s h e s t o t h e p u p pet. It is o b v i o u s t h a t , of all t h e 45

p u p p e t s p r e v i o u s l y describen!, t h e marionette w i t h its full r a n g e of m o v e m e n t s offers t h e w i d e s t o p p o r t u n i t i e s in t h e s e respects. The extempore playlet provides

created b o t h the puppet and the play. Rehearsals have s h o w n t h e m w h o is best f i t t e d for t h e i n d i v i d u a l parts a n d j o b s . T h e y h a v e all w o r k e d h a r d a n d g a i n e d m a n y skills, b u t above all t h e y have learned to

t h e best o p p o r t u n i t i e s for t h e c h i l d t o i d e n t i f y w i t h his p u p p e t partner and to discover new modes of

w o r k t o g e t h e r as a t e a m . About Watching and Listening T h e e m p h a s i s so far has b e e n o n acquiring practical skills. Let us n o w c o n s i d e r t h e v a l u of w a t c h ing and listening. W e start w i t h t h e p r e m i s e t h a t in e v e r y t h i n g c h i l d r e n d o t h e y learn something. Therefore, the puppet play s h o u l d n o t be a mere v e h i c l e for pleasure a n d e n t e r t a i n m e n t as its material c a n be e d u c a t i o n a l in the best sense of the word. C h i l d r e n s h o u l d be e n c o u r a g e d t o w a t c h and listen c r i t i c a l l y , t o j u d g e whether the sense of what the p u p p e t said carne across p r o p e r l y . Were the movements appropriate? How could they be improved? W a s the l a n g u a g e c o r r e c t ? O u g h t t h e s c r i p t t o be c h a n g e d here a n d of t h e r e ? A r e t h e scenery a n d p r o p s r i g h t for t h e p l a y ? Is t h e play at all boring? gotten ? Has a n y t h i n g been for-

s p e e c h , n e w w a y s of t h i n k i n g a n d a n e w s e n s e of c o n t i n u i t y . He w i l l h a v e t o learn t o correlate his role w i t h his f e l l o w players. T h e n o r m a l play with its pre-selected roles interneeds i n t e n s i v e s t u d y a n d

pretation w h i c h children may find d a u n t i n g . For t h e b e g i n n e r s p e c i ally w r i t t e n p u p p e t plays are a v a i l able t h a t w i l l g i v e c o n f i d e n c e a n d ensure t h a t a m o r e p o l i s h e d perf o r m a n c e c a n be p r e s e n t e d t o t h e whole school. Such a performance should be presented and ann o u n c e d as a class effort, for it is definitely not a g o o d thing to pick o u t a f e w f a v o u r e d c h i l d r e n , leaving the rest disappointed and resentful. The most natural c o m b i n a t i o n

s u b j e c t s are t h e creative o n e s of art a n d l a n g u a g e , a n d it has o f t e n been shown that made of children's easier puppetv o c a b u l a r i e s c a n be e n r i c h e d a n d self-expression play d i a l o g u e . So, in the end, the class has

C h i l d r e n c a n be a critical a u d i e n c e , b u t o f t e n lack the a b i l i t y t o their opinions play into the words. part of put It is, stage

through the mdium

t h e n , a u s e f u l e x p e r i e n c e t o let t h e children

4S

d i r e c t o r a n d , w i t h p u p p e t in h a n d , i n s t r u c t t h e o t h e r players. W a t c h i n g and listening can fulfil a p a r t i c u l a r l y u s e f u l f u n c t i o n if the teacher through the pupbet's m o u t h gives a ' c u r t a i n l e c t u r e ' or, p e r h a p s , in h u m o r o u s v e i n , arges with the puppet of on points etc. of The grammar, puppet mathematics, course,

s t a n d a r d of p e r f e c t i o n , s h o u l d have its s p e c i f i c place in t h e c l a s s r o o m . In no other w a y can s o m u c h that is i m p o r t a n t in life be m a d e i m m e d i a t e l y a n d s t r a i g h t f o r w a r d l y so real - d i s c o v e r i n g and d o i n g , c o n sidering and deciding, j u d g i n g and improving, learning and enjoying, w a t c h i n g and listening. In t h e f o l l o w i n g pages w e g o o n f r o m w h a t w e have already d e m o n -

will,

always

w a n t to answer back! The puppet play, whatever its

strated and give additional examples of puppet building.

Empiy

packets

and

containers

F a c i n g page: A rod p u p p e t created from coloured autumn foliage.

offer a h o s t of a d v e n t u r o u s p o s s i bilities. P u p p e t s m a d e f r o m plstic b o t t l e s are s p e c i a l l y s u i t e d t o the rod-puppet theatre for they are light and unbreakable. 48

Finger p u p p e t m a d e f r o m

strong

c a r d b o a r d . T w o holes for t h e first a n d s e c o n d f i n g e r are c u t in t h e l o w e r part. B e l o w . Finger p u p p e t s 4 - 6 inches high - 'Auctioneer and A u d i e n c e ' o u t of ' A P u p p e t S a l a d ' . M a t e r i a l s used wool, were rubber and balls, so corks, The buttons, on.

f i g u r e s w e r e m a d e first, t h e n little scenes were w r i t t e n suited to the various types.

Gmpfe nand puppets with painted po/ystyrene heads. T w o holes are c u t in t h e sleeveless c l o t h e s t h u m b a n d index f i n g e r . for

51

A n o d s t o c k i n g or p u l l o v e r sleeve, cardboard and adhesive are the chief materials for this raven. T h e beak is o p e n e d a n d c l o s e d by t h e t h u m b a n d index f i n g e r . A horse for t h e h a n d p u p p e t stage: brush c o v e r e d w i t h c o l o u r e d paper. Facing p a g e : N e g r o h a n d p u p p e t . T h e head is m a d e f r o m a p a i n t e d polystyrene ball. 52

53

C l o t h p u p p e t . T h e h e a d is m a d e f r o m an o d s t o c k i n g , p a i n t e d . 54

Woollen

skein

puppets

can

be rem-

knitted together

from yarn

n a n t s . T h e y are best used as rod p u p p e t s (see p a g e 8 ) .

55

A n o d piece of tree r o o t p a i n t e d w i t h poster c o l o u r . O n e c a n m a k e a wide variety and can a of these 'manrootStuck is drakes' theatre complete

be f a s h i o n e d .

o n to a stick t h e rod p u p p e t complete. 56

This

big

raven, a hand in t h e w o o d s ,

puppet, which

c o n s i s t s m a i n l y of a piece of tree root found w a s easily c a r v e d w i t h a k n i f e a n d t h e n p a i n t e d . T h e h a n d grasps t h e l o w e r part of t h e r o o t inside t h e c l o t h c o v e r i n g , a n d so m a n i p u l a t e s it.

57

A s t r a n g e paper a n i m a l , c u t a n d f o l d e d a n d s t r u n g as a m a r i o n e t t e . 58

Bottle figures, 4 - 1 8 inches high. F r o m left t o right: Professor dog Bibo, and Karl-Leopold, MoonCircus-Director Brainwave, the

Lookhere from 'Karl-Leopold'sTrip to the M o o n ' . Bottles and d e c o r a tions from scrap materials. by Text devised children. 59 and written school

Marionette Guard from

19

nenes

high. of

The the

'The

Story

Clever W o m a n ' b y Cari Orff. T h e materials u s e d , t h i n sheet m e t a l , industrial waste, c l o t h , and ter of t h e f i g u r e s . 60 odds and ends, depended on the charac-

M a r i o n e t t e s 1 8 i n c h e s h i g h . Kaspar a n d M o n e y b a g s , f r o m 'The M a g i c Fiddle' by Werner Egk. t*u

61

Paper-

c o a t e d a n d p a i n t e d f i g u r e s staged in t h e style of the nin

Marionettes The

12-20

inches

high.

S h o r t a n d the Tall

Gnome'

ffrr Pcfurs from an

pret from the music by

Exhibition'. Mussorgsky made balls,

The p r o d u c t i o n a t t e m p t e d t o interp i c t o r i a l l y . T h e f i g u r e s are wire, bones, rubber

F a c i n g page: R o d p u p p e t 36 i n c h e s h i g h . T h e Rich M p r r h a n t ' . m a d e f r o m c a r d b o a r d , w o o d and an electric l i g h t b u l b .

even a k i t c h e n sieve, a n d these a n d o t h e r scrap material w e r e left in their o r i g i n a l f o r m . 62

Glove 'Market

puppets, cans,

24

inches made

high. from

Facing p a g e , b e l o w : the W i t c h and T w o

Marionettes Birds'. T h e y

Women',

8 a n d 56 inches h i g h . ' B a b a Yaga were created f r o m roots, branches, bast, w i l l o w t w i g s , fir c o n e s , shells, etc.

watering

sponge-rubber

strips, c l o t h a n d pearls. Facing page, above: Rod puppet, 16 i n c h e s h i g h , 2 8 inches w i d e . A bat m a d e f r o m n a t u r a l materials, roots, b r a n c h e s , shells, leaves. 64

65

Facing page:

puppet, Punch. The whole

19th Century hand figure

m a d e of w o o d a n d t e x t i l e s is a b o u t 2 0 i n c h e s h i g h . It is n o t s u r p r i s i n g t h a t t h e a r m s , w h i c h are c o n t r o l l e d b y seprate f i n g e r s , are k e p t s m a l l . It needs a lot of strength and e n d u r a n c e t o h a n d l e a p u p p e t like this w i t h o u t apparent effort. A J a v a n e s e rod p u p p e t , c o n t r o l l e d by t h e h a n d . T h e m o v a b l e e l b o w joints permit graceful movements. Wajang-Golek figure made from w o o d a n d textiles (see p a g e 8 ) . 67

19th

Century and

Chnese Official

shadowmade colour.

are v i s i b l e . A r m s a n d h a n d s seen t h e h o l e s w h i c h control rods. take

are their

play f i g u r e s . D e m o n in T r a v e l l i n g Clothes both f r o m p a r c h m e n t , d y e d in

m o v a b l e a n d in t h e h a n d s can be

T h e rods w h i c h w o r k t h e f i g u r e s 68

Rod

puppet, 'Mafolta', from Tandarica'

the

a n d w a v e t h e arms. Its p o w e r of e x p r e s s i o n lies in the very c o m i c face.

Bucharest

Puppet

T h e a t r e . T h e h e a d a n d h a n d s are p a p e r - c o a t e d , a n d it can o n l y tum

69

70

Facing p a g e : It all d e p e n d s o n the expressive p a i n t i n g a n d c o s t u m e s . Tube puppets from the State (1965), texP u p p e t Theatre in S o f i a tiles.

Above:

19th

Century

Sicilian hands

Marionettes -

Paladins. T h e r e are

rod c o n t r o l s o n head a n d

and the f i g u r e s , w h i c h are m a d e f r o m w o o d , textiles a n d m e t a l , are u p t o 58 i n c h e s h i g h . Play s c r i p t material: t h e Saga of R o l a n d , a n d ' J e r u s a l e m Freed', a n d these f i g u r e s are f r o m ' C a t a n i a a n d A c i r e a l e ' . 71

created w i t h c a r d b o a r d a n d

19th The

Century

Rod

Marionettes. on stout the

marionettes

hang

iron rods, w h i c h e n a b l e the w h o l e f i g u r e t o t u r n . M o v e m e n t of limbs is controlled by Scene f r o m a B o h e m i a n Marionette Theatre. 72 strings. National

Figure f r o m a Lige

Tchantches

T h e a t r e ' , 1 9th C e n t u r y . T h i s is an o r i g i n a l f o r m of m a r i o n e t t e w h i c h c a n also be a d o p t e d simply. strings. 73 It is for school very add to purposes. The figures hang possible

m o b i l i t y t o t h e l i m b s b y m e a n s of

Marionette

'Double-headed

w i c k ) , 1 9 6 1 . A very

complicated

Peter a n d P a u l ' by Harro M i c h a e l S i e g e l . Florence ( f o r m e r l y B r u n s 74

m a r i o n e t t e w h i c h requires a great n u m b e r of s t r i n g s t o c o n t r o l it.

Table of Technical skill levis for Grades 1 through 12

Puppets them there

are f o r c h i l d r e n , play wide with

young produce But the a in

children

do

not them.

meet

with

unwill their

p e o p l e a n d adults. T h e y and is variation

necessary d i f f i c u l t i e s w h i c h m i g h t discourage know the Teachers of capabilities

them.

technical difficulties encountered. T h e f o l l o w i n g t a b l e gives ony very general indication, so that

pupils and how much they can

ask of them.

Kindergarten and Grade 1 : 6, 7, 1 5 , 1 6 , 2 0 , 2 3 26, 27, 48, 50, 5 1 , 56. G r a d e 2: 6, 7, 1 5 , 1 6 , 2 0 , 2 3 26, 27, 48, 50, 5 1 , 56. G r a d e 3: 7, 8, 9, 10, 1 2 , 1 5, 1 6 , 19, 2 0 , 22, 23, 26, 27, 48, 50, 5 1 , 56. Grade 4: 7, 8, 9, 1 0 , 1 1 , 1 2 , 13, 15, 1 6 , 19, 20, 22, 23, 26, 27, 4 1 , 48, 5 0 , 5 1 , 56, 5 9 . G r a d e 5: 7, 8, 9, 1 0 , 1 1 , 1 2 , 1 3 , 1 4 , 1 5 , 16, 19, 20, 2 1 , 22, 23, 2 4 , 26, 27, 28, 3 2 / 3 3 , 4 1 , 42, 48, 5 0 , 5 1 , 52,, 5 5 , 5 6 , 5 9 , 6 4 , 7 3 . lower, lower,

Grade 6: 7, 8, 9,10,11,12,13,14,15,
16, 17, 1 8 , 1 9 , 2 0 , 2 1 , 2 2 , 2 3 , 24, 27, 28, 29, 3 2 / 3 3 , 34, 35, 4 1 , 42, 48, 50, 5 1 , 52, 55, 56, 58, 59, 60, 6 1 , 73. Grades 7 - 1 2 : 7, 8, 9, 1 0 , 1 1 , 1 2 , 1 3 , 1 4 , 1 5 , 16, 17, 18, 19, 2 1 , 22, 23, 24, 25, 27, 28, 29, 30, 3 2 / 3 3 , 34, 35, 3 6 / 3 7 , 3 8 / 3 9 , 4 1 , 42, 48, 50, 5 1 , 52, 55, 56, 58, 59, 60, 6 1 , 62, 63, 65, 73.

75

Index

Audience, the 46 B a l l , w o o d e n , as p u p p e t h e a d 9, 1 0 Balsa 2 5 Bohemian National Marionette Theatre 72 Bottle figures 48, 59 Bucharest, Tandarica Puppet Theatre 69 Cardboard tube marionettes 3 2 - 3 4 Cartn converted to p u p p e t stage 4 1 ^ 2 Carving tools 3 5 - 3 6 C'ataa and Acireale 71 Chnese s h a d o w play 13, 6 8 Cloth puppet 15, 54

Liege, T c h a n t c h e s Theatre 7 3 Lighting 43 Marionettes 2 6 - 3 7 , 46, 60, 6 1 , 65 controlling 30, 37, 7 1 , 72, 74 rod 72 Sicilian 71 Mask puppets 23 Musical accompaniment 43, 62 M u s s o r g s k y , M . Pictures Exhibition 62 from an

Sheet metal 6 0 Shells 6 5 S h o e b o x p u p p e t stage 41 Sicilian marionettes 71 Siegel, Michael, p u p p e t by 74 S l i p p e r s as p u p p e t s 7 Sofia State Puppet Theatre 7 0 Spoon puppets 6 - 8 Stage, the 4 1 - 4 3 T e s c h e r , R, p u p p e t b y 3 Tin-can puppets 1 1 , 28 Trick film, m a k i n g a 3 8 - 4 0 Tube puppets 15, 16, 18, 70 T u b e s in p u p p e t m a k i n g 3 2 Vegetable theatre 26

Natural materials 4 9 , 56, 57, 6 5 Negro head 53 Orff, C a r i . The Story Woman 60 of the C/ever

3 4

Controls for marionettes 30, 37

D o l l s , h o m e - m a d e 5, 4 0 E g k , W e r n e r . The Magic Electrical effects 4 3 Fiddle 61

Paper, c o r r u g a t e d for p u p p e t heads 17 Papier m a c h p u p p e t h e a d s 2 1 , 37 Plstic bottle p u p p e t s 4 8 Plstic m o d e l l i n g material 1 8 - 2 3 , 37 Plstic w o o d 2 5 Plasticine 24, 3 8 Play, t h e 4 4 - 4 7 Playlet, t h e e x t e m p o r e 4 6 P o l y s t y r e n e p u p p e t h e a d s 9, 1 0 , 2 1 , 51, 53 Punch and J u d y 5, 6 6 Puppet heads 1 7 - 2 2 painting 20, 22 Raven p u p p e t s 52, 57 Rod marionettes 7 2 R o d p u p p e t s 4 , 8, 1 2 , 5 5 , 5 6 , 6 3 , 65, 67, 69 from autumn foliage 49 Roots, carved 56, 57, 65 Saga of Rolandl^

Wajang-Golek figure 67

Watching, iistening and Cfek}

4, 44, 46, 47 W o o d e n heads, carved 25, 3 5 W o o l l e n skein puppets 55

Features, m a k i n g the 1 9 - 2 2 Feet 2 3 Finger-puppets 15, 50 G l o v e p u p p e t s 3, 4 , 1 6 , 6 4 Goethe, J. W. 4

Hand puppets 15, 5 1 , 52, 53, 6 6 Hands 23 Heads17, 22,24 Horse puppet 52 Imagination, fostering of 5 Improvisations 6 J a n Klaasen, p u p p e t of 3 Javanese rod puppet 4, 67 Jerusalem Freed 7 1 Joints, movable 12, 3 4 - 3 5 , 37, 67 J u m p i n g Jack 12 Knot puppets 15 Leaves 4 9 , 6 5

Scenery 4 3 S c h o o l , p u p p e t r y in 4 4 - 4 7 Scrap materials, p u p p e t s f r o m 2 9 , 32, 48, 59, 60, 6 2 S h a d o w plays 4, 13, 6 8 S h a d o w puppets 13, 14 S h a w , Bernard, 3

Index

Audience, the 46 B a l l , w o o d e n , as p u p p e t h e a d 9 Balsa 2 5 Bohemian National Marionette Theatre 7 2 Bottle figures 4 8 , 59 Bucharest, Tandarica Puppet Theatre 69 Cardboard tube marionettes 3 2 - 3 4 Cartn converted to puppet stage 41^42 Carving tools 3 5 - 3 6 Catania and Acireale 71 Chnese s h a d o w play 13, 6 8 Cloth puppet 15, 54 10

Liege, T c h a n t c h e s Theatre 7 3 Lighting 43 Marionettes 2 6 - 3 7 , 46, 60, 6 1 , 65 controlling 30, 37, 7 1 , 72, 74 rod 7 2 Sicilian 71 Mask puppets 23 Musical accompaniment 43, 62 M u s s o r g s k y , M . Pictures Exhibition 62 from an

Sheet metal 6 0 Shells 6 5 S h o e b o x p u p p e t stage 41 Sicilian marionettes 71 Siegel, Michael, puppet by 74 S l i p p e r s as p u p p e t s 7 Sofa State Puppet Theatre 7 0 Spoon puppets 6 - 8 Stage, the 4 1 ^ 4 3 T e s c h e r , R, p u p p e t b y 3 Tin-can puppets 1 1 , 28 Trick film, m a k i n g a 3 8 - 4 0 Tube puppets 15, 16, 18, 70 T u b e s in p u p p e t m a k i n g 3 2 - 3 4
V e g e t a b l e t h e a t r e 2 6

Natural materials 4 9 , 56, 57, 6 5 Negro head 53 Orff, C a r i . The Story Woman 60 of the C/ever

Controls for marionettes 30, 37

D o l l s , h o m e - m a d e 5, 4 0 E g k , W e r n e r . The Magic Electrical effects 4 3 Fiddle 61

Paper, c o r r u g a t e d for p u p p e t heads 17 Papier m a c h p u p p e t h e a d s 2 1 , 37 Plstic bottle p u p p e t s 4 8 Plstic m o d e l l i n g material 1 8 - 2 3 , 37 Plstic w o o d 2 5 Plasticine 24, 38 Play, t h e 4 4 - 4 7 Playlet, t h e e x t e m p o r e 4 6 Polystyrene p u p p e t heads 9, 10, 21 51, 53 Punch and Judy b, 6 6 Puppet heads 1 7 - 2 2 painting 20, 22 Raven puppets 52, 57 Rod marionettes 72 R o d p u p p e t s 4 , 8, 1 2 , 5 5 , 5 6 , 6 3 , 65, 67, 69 f r o m autumn foliage 49 Roots, carved 56, 57, 6 5 Saga of RolandT\

Waang-Golek figure 67

Watching, listening and cntno,

4, 44, 46, 47 W o o d e n heads, carved 25, 35 W o o l l e n skein puppets 55

Features, m a k i n g t h e 1 9 - 2 2 Feet 2 3 Finger-puppets 15, 50 G l o v e p u p p e t s 3, 4 , 1 6 , 6 4 Goethe, J. W. 4

Hand puppets 15, 5 1 , 52, 53, 66 Hands 23 Heads 17, 22, 24 Horse puppet 52 Imagination, fostering of 5 Improvisations 6 J a n Klaasen, puppet of 3 Javanese rod puppet 4, 67 Jerusalem Freed 7 1 Joints, movable 12, 3 4 - 3 5 , 37, 67 Jumping Jack 12 Knot puppets 15 Leaves 4 9 , 65

Scenery 4 3 S c h o o l , p u p p e t r y in 4 4 - 4 7 Scrap materials, p u p p e t s f r o m 29, 32, 48, 59, 60, 6 2 S h a d o w plays 4, 13, 6 8 S h a d o w puppets 13, 14 S h a w , Bernard, 3

Art Media Series

Published by van Nostrand ReinhCd Company