PUPPETRY |e ANDBOOK |IllTHE PUPPETRY HANDBOOK Written and Illustrated by Anita Sinclair RICHARD LEE PUBLISHINGACKNOWLEDGEMENTS My thanksto the puppetcers, the designers and performers who, through their work in the distant and recent past have fed my appetite for information about puppetry. My gratitude to UNIMA, the Union Internationale de la Marionnette, without which very many puppeteers would not know that the others existed, and would have continued to battle on in varying degrees of isolation. My particular thanks to my mother, Win Baker, fora lifetime of love and support; to my late father, Wal Baker, who never bought something if he could build it with his own hands. Tomy partner, Prodos Marinakis, for loving my work almost as muchas ido, and for clearing the way so that this book could be completed. To my publisher, Richard Lee, who always believed in this book, and fought for it with time, money and effort To my daughter, Andrea Osman, who, with myself, pioneered the studio/shop Mask of Janus. My thanks to David Lander for initiating performances of such intensity and passion that only puppet and mask characters of equal strength could meet the challenge. Thanks to Chris Gregory (Christof) and the team of the Epic of Gilgamesh, who took my ideas of what was possible and with them, created the incredible. My thanks to the countless numbers of puppeteers whose work, to greater and lesser extents, contributed to the instructions and illustra tions that allow this book to pass on skills to the next generation of puppetry enthusiasts. Anita Sinclair THE PUPPETRY HANDBOOK vABOUT THE AUTHOR Anita Sinclair is an artist. A painter, sculptor, and performer Since the day she first madea kite with piece of} «1 and some tiec \ogether lengths cf wool, she has been making. ...gs. She explains thediversity ofher interests and art formsby de’ iirsherreal work as communication. Anita hasbeen teaching sin, -she was 16, wher she was a student teacher at a Melbourne sto": sclwol. She nev confines her teaching to small workshops, ind: dual consultancy and book writing. Over a forty year period ie has taught in Primary, Secondary and Technical schools, ‘er Training col- legesand Universities;shehasconducted semi. satInternational Festivals of Puppetry and created street eve: and parades | many festivals within Australia, During her ten years as a Drama teacher ed tor at Meibourne State College (now Melbourne University) 1 was able with Students, to experiment with many uses and f+ ms of puppetry, In that setting and with those students it wa. oth possible sand appropriate to trulyexamine the function of com:nunication thro theatre, through puppetry and mask, as it ap; ed to learnin nent, to self expression and to enjoy ent of wor Bg. to own end Anita's background of painting, and more particularly sculpture has created a viewpoint that echoes throughout this book Her specialization in theatre skills since 1970 will provide her readers with many means of approaching, this coriplex and infinitely rewarding art form Anita Sinclair works today asa live theatre pei ormer, puppet and mask Painter, sculptor and poet. vi THE PUPPETRY HANDBOOKOVERVIEW ACKNOWLEDGEMENTS ... v SYNOPTIC CONTENTS ... viii FORWORD ....xi INTRODUCTION ... xiii Chapter 1... APPROACHES TO PUPPETRY ... 1 Chapter 2... PUPPET BUILDING - lechniques |. 9 Chapter 3 ... PUPPET BUILDING - Media ... 589 Chapter 4 ... PUPPET HANDLING and PERFORMANCE SCRIPTS ... 165 Chapter 5 ... PUPPETRY SETS and PERFORMANCE VENUES ... 183 ‘THE PUPPETRY HANDBOOK viias vii Nera nee nereeeeeeeeeneennee een een SYNOPTIC CONTENTS tas ern ym Goeod ipshnpmatllonihinats | ‘The Human Marionette Hands The Human Marionette Feet .. Building the Marionette Control Chapter 1 ‘Materials & Tools ... APPROACHES ‘To PUPPETRY ... 1 ‘Aeroplane Control for a Human Puppet... 42 Vertical Control for a Human Puppet... 44 WHY USE PUPPETRY? 3 | Horizontal Control for a 4 Legged Puppet...... 45 Puppetry is communication ..... 3 | Horizontal Control for 8 Legged Creatures... 45 Puppetry as performance. 7 «4 | Horizontal Control for a Bird ...... Puppetry, Leaming and Growth ~ 4 | variations a WHERE DO YOU START? -6 | Designing Special Actions Decide on Your Main Aim... 6 | Body Puppet Building ... USING THIS BOOK 7 | The Body Puppet Head Ideas for the Artist / Designer/ Builder ? | ‘The Body Puppet Body Ideas for the Group Leader 7. | The Body Puppet Hands... Ideas for Teacher Built Puppets 7 | ‘The Body Puppet Feet 58 Designing a Body Puppet... 59 Important final message on Body Puppets 59 Chapter 2 ‘Shadow Puppet Building 60 PUPPET BUILDING - Techniques ..9 | Shadow Puppetry Experimental Workshop 61 Materials, Tools & Equipment 61 About this chapter 11 | Shadow Puppetry — 66 BASIC PRINCIPLES 12 | Further developments 66 ‘A Definition 12 | Black Theatre Puppet Building, 69 What gives a puppet life? 12 | Black Theatre Puppetry Workshop using Building to inspire belief 13 | fluorescent materials and ultraviolet light .. 69 Puppetry as a sculptural Medium 13 | Matenals & Tools a) Rules and exceptions 14 | Black Theatre Puppetry using, a wall of TYPES OF PUPPET 15 | white light ina blackened space 2 BASIC PRINCIPLES FOR PUPPET. “TYPES: 16 | SHAPING THE PUPPET ~ 73 Hand Puppets 16 | Shaping the Head... 73 Rod Puppets. 16 | Shaping the Hands... 74 Marionettes 17 | Shaping the Feet ie 75 Body Puppets 17 | Shaping the Body and Limbs... 25 Shadow Puppets 18 | The Eves . %6 Black Theatre Puppetry 18 | The Facial Expression 78 BUILDING THE PUPPET 19 | Integrity: The Integration ofthe Parts 79 Puppet Building Rules. 19 | Integration of the Shapes seneeeen 79 General Rules 19. | MOVEMENT WITHIN MOVEMENT... 81 Hand Puppet Building ; --19 | Moving eyes, moving jaw or chin. Variations The Hand Puppet Head .... ee in hand movement. ins 81 ‘The Hair, Eyes, Mouth, Etc. .... Moving Eyes .... 82 ‘The Hand Puppet Hands 21 | Opening- THE Mourn, MUST Be ~— RIGHT BACK in THE SPACE BETWEEN TH INDEX FINGER AND THE THUMB. 20 “THE_PUPPET MUST FIT THE HAND. THE PUPPETRY HANDBOOK Plus: + PV.A. glue; Contact adhesive; sewing equipment; felt pens. Toots: + Assorted. METHOD Begin thinking about design by deciding how and where the puppet will fit the hand(s). Some possibilities are illustrated. ‘This will be your starting point whether you choose to work with mixed inedia, or more wisely at first, only one or two of she listed materials. Sliais a ‘THE HAND PUPPET HEAD ‘The hand or fingers must always feel securely fixed in posi tion inside the puppets head, with no chance of slipping out. ‘The positioning of the fingers must allow plenty of variation in the puppet’s movement. If you are making a moppet, the mouth piece must fit right back into the space between your thumb and forefinger to allow ample movement of Ue jaw. ‘The illustrations on this page and the next show a variety of ways in which the puppeteer’s hand might fit the puppet. Further into the book you will find detailed information about media and techniques for building a head shape, either as a hollow shell, or as a solid. Now that the puppet fits onto the hand, you have the bare bones of the puppet, onto which you can build the details. 8” 8A nnn on on non n-ne ee on on piesRemember the ears, even if you decide not to. add them after all. Human and animal ears are further backon the head than “most people think: Consider the nose. Will it show clearly in profile? Does it suit the face? ‘Teachers’ Note: Much of the building proass can ba used Tor percopton develorment. Encourage shes ofatagmatouse wu cn Your che, their hands to measure distances siich as ear positioning, nose tang a length, etc.. on their own faces to ~stablish relative proportions. i BETEEN & S&S If chilaren complain that they do not know what, for instance, a i horse's head looks like, send them either down the paddock, or to the library, whichever is most feasible! Puppetry can be a 4 YOUR EYE f wonderfil motivating force for learning to research. AND YouR AS IT 15 WDE! FART EARS SHOULD BE WELL ToTHE BACK OF THE HEAD. NOTcL0Se 10 THe Eves. THE HAIR, EYES, MOUTH, ETC. Where possible, glue on found objects. Paint should not be needed if you have chosen your materials cunningly. See Pages 76 and 146 for more information. SLT OR > a PAPER, E> < PLASTIC NAILS = CUT FROM C= MUICE BOTTLE. THE PUPPETRY HANDBOOK 21bpB& OB, SakBe. parr frie “Fey ones EP aios GD. PSs GREEN FACE,CREEN KesNDS ete MATCH MIE WANDS Jo "THE «él HAND “TO MOVE HANDS, 2 ‘THE PUPPETRY HANDBOOK ONE WIRE RoDd HAND ORL USE THE CARD. CYLINDER IN THE 5 = Ab-vays match these to the face. Yours match don’t they? .™ break this rule means to significantly reduce the aliveness your puppet, making the belief’ you seeka lot more difficu to, Toaciere, e ‘THE HAND PUPPET HANDS Our hands are as Jong as our faces. Don’t make the puppet BS hands too small. If the puppet needs longer arm than your thumb or your arm allows, make an extension, = ‘THE HAND PUPPET BODY Once the head and hands (wings, paws, fins) havebeen mad abody, arms, legsand maybeaneck willbe needed. Assuming that the head and hands are already well on their way tobe alive, it may be quite sufficient to Complete the puppet witht no more than a circle of cloth with a hole for the neck. = = = ° = = == Cael GLUE = OR SEW SF HAN DIO = QUTISIDE EDGE 25h SIMPLE Sr Nov ENOUGH BODY MOVE MENI more is required, think along the following lines ... * he body may fit along the forearm to the elbow, or hang by its neck straight down in front of tne puppeteer, lege and all. The hand may be manipulated by direct use of the. puppetecr’shand, orbyan attached rod. Inthe case ofboth, the Puppet’ hands being moved, another puppeteer may be called upon to help. RY Lon Nem aiNS ARMs AND E FEET ARE KICKED ALONG BY THE Peer PUPPETEER'S FeeT OR ATTACHED TOME PUPPETEER'S SHOES CLicit RAUET SUPPERS) POFPETEERS, o! ARM ENTERIN ‘THE PUPPETRY HANDBOOK f USING “REA CLOTHI FOR A BOBY, PPE TERS, ne as e | PavpeD. Glove HAND, (AT RESTS ONE HAND IN PUPPETS MOUTH, ONE HAND IN PUPPETS ARM.— Or ‘acfelN\N tan Q BamMAKE ME )\ Seow "Rrtovasce storacr CQ RQ 3 AR Ee ) / RING TO THE BOTTOM THIS “TO HANG THE PET WHEN Not IN USE. CINE CLOTHING OR SLEEVE, TRACE* ZAPGENEROVSLY ARGUND YOUR: HAND - cop ilo SEW TOGETHER, TRADITIONAL CLOVE PUPPET CLOTHING PATTERNS. (NOT TO SCALE)- NECK OR a ian s Si \N\S. 3 q Is i a is \“ FRONT 1S NARROWER “THAN BACK cor HEM CUT ONE LEFT, ONE -ONE RIGHT + Ifthe head and hands are made of, say, laminated paper and you decide to make the body from fabric, the two materials can be glued together at the neck. The clothing may be made removable for washing or for costume changes by the addition of a draw string at the neck and wrist openings. Limit the colour and the texture of your building materials. ‘The creature or character needs to match itself to seem to be an integrated whole. This leads to greater credibility for the Puppet. STORAGE If your puppet is strong in its construction, you need not worry about breakage. Protect the puppet from dust and dirt by keeping it in a cloth bag when not in use. Hang it during performances whilst not in action. THE PUPPETRY HANDBOOKROD PUPPET BUILDING Revise the principles for Red puppetry nd Basic Prindpl.. Sor Puppet Types. Many design and material decisions will be affected by the etd for the Rod puppet to be light. Since these figures may A heavy puppet places a great strain on even the strongest fims as well as increasing the likelihood of accident. So, no heavy puppets. Refer tothe note on demonstrating weighton page 30. Only very light materials should be selected for use on Rod Puppets, sothat the completed figure will permit the puppet- cer to concentrate on producing convincing movement and ‘characterization. COVERED wir LICHTWEIGHT PeeeRoe se UOR FABRICS. _ TNO wie ENDs AT ALL. BEND ALL ODIRE SAFELY. ENDS pees THE PUPPETRY HANDBOOK “THE "Day" Ss t ALWAYS WINDY, THE CRowd i Atways DISORDERLY. r 1) i f/ ror LARCE “Wy FIGURES \ lose STRONG Woo, SH DOWEL ‘oR ‘Hl PLUMBERS’ PVC PIPE, AvoiD CHEAP PINE POLES - Aspirr WILL CREATE A JAVELIN’ AND Por You IN DANGER . ° RMSke puersMAYERIALS, TOOLS & EQUIPMENT H sO Materiats: + Rods and poles: Dowel (2 centimetres plus); Metal conduit wu + Small rods and poles: Thin dowel; wire; bicycle wheel spokes. = + For Hiéad, body, and hands - one of the following: Foam™ rubber used with or without Contact adhesive (you can just ram a carved head onto a rod); laminated papers orf fabrics; panty hose stretched ‘overashape or stuffed;a wire or cane frame covered with paper ar fabric. + For clothing: Lightweight fabrics. Real clothing. + Finishing details: Hair, eyes etc, can be made from light- weight useful junk or from purchased, more expensive| materials such as wool, actual hair or false eyes. Tools: £ + Assorted. Expect to use gluing, sewing, adhesive taping and wirel binding techniques. 5 /\) . iC tive, \ / HOLD Rod AND TUBE FROM £ BELOW worm CLOTHING 7 DRAPED On, « JS YOUR ARM6) 7 L OR . CUT A HOLE a IN THE BACK OF “THE ‘ PuPPET'S : CLOTHING . (HAND 1 he a ; ha N= amo sere WES ES sue of CHANGES SIMPLE = EM ESEE Cones. ! 26 THE PUPPETRY HANDBOOK 'No matter which material you decide to uée, the rod must (pass right through this form to the top. It must be | “attached to prevent unwasited movement. This will ensure that the puppet will exactly obey the movements you ask of "it Wobbling or lack of co-ordination in the moving parts can . beinfuri If your puppetis inneed of a neck movement independent of the body, you can use a rod-in-tube’ design ‘THE ROD PUPPET HEAD Unlike Hand or Glove puppets, Rod puppets cannot be Reliably defined within a certain size range. Rods may be the Pestmeans of animating quite small orquitemassive puppets, For this reason, generalisations about head design would be rather risky. The very fact of needing to attach a rod to the head, in whichever position, or at whatever angle, will influence the design of the Rod puppet head. Ifto this you add any extra actions of the head, the eyes, the mouth of the neck, you will once again influence the range of design choices open to you. Plan in advance all the actions you will need. Remember that {he simplest rod action on an expertly shaped head will give the puppet life. A simple head onastick works very wellifthe shaping of the head is effectively executed. Please teferto the notes On Movement Within Movement for further detail on mouth, eye and jaw mechanisms, Very large Rod puppets are often used in Street Parades and Suet Theatre. The impact made by the head of the puppet will depend very much on its size, shape, colour and texture, Always check your work at a distance. Take the puppet outside, view it in natural lighting if that will be its final Performance setting, Revise the notes on integrity of design ‘on page 79. Facial detail comes next. If you look carefully, you will find someamazing things on the supermarket shelves. The bottom part of soft drink bottles will make shiny eyes for a large figure. Plastic spoons with the handle cut away will make the whites of eyes for a smaller puppet and the pupil may be glued to this. See page 76, THE PUPPETRY HANDBOOK RAFFIA & RIBBON CAN CREATE HAIR. THAT ADDS MOVEMENT Fog CO ®S GLUE ON, RATHER, THAN PAINT