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 under the direction of Reiner
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 Schlamp, Hans-SachsGymnasium,
are f r o m t h e a u t h o r ; the s t u d e n t s N ü r n b e r g ; P u p p e t Theatre C o l l e c -
of t h e Ruhr T r a i n i n g College for t i o n of M u n i c h ( p p . 6 6 - 7 4 ) .
Elementary Teachers, Dortmund Photographsby Wilhelm Hohmann,
s e c t i o n ; t h e P u p p e t Theatre C o l l e c - Recklinghausen; Munich Puppet
tion of Munich ( p p . 3, 4 , 13,); Theatre Collection; Reiner
Puppet Theatre Society; "Die Schlamp, Nürnberg; Werner
S p i e l b u d e " of N ü r n b e r g (pp. 35, Stuhler-Bavaria (p. 4 3 ) .
43); David Strasmann and Co.,
Wuppertal-Ronsdorf. lllustrations S p o n s o r e d by t h e G ü n t h e r W a g -
¡n the Appendix: Kindergarten ner P e l i k a n - W e r k e , Hanover; and
work, students' work, Puppet K o h - I - N o r , Inc., 1 0 0 N o r t h Street,
Theatre Society " D i e Spielbude"
Bergen, N e w Jersey 0 8 8 0 4 .

Germán edition © 1969 by Otto

or i n f o r m a t i o n s t o r a g e a n d
Maier Verlag, Ravensburg,
retrieval s y s t e m s - without
Germany.
w r i t t e n p e r m i s s i o n of t h e
English t r a n s l a t i o n C o p y r i g h t publisher.
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Limited
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P u b l i s h e d in t h e United States of
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A l l r i g h t s reserved. N o part of
R e i n h o l d C o m p a n y , a D i v i s i ó n of
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Litton Educational Publishing,
or u s e d in a n y f o r m or b y a n y Inc., 4 5 0 W e s t 3 3 r d Street,
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mechanical, including
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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 ñ 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 were
buried in the graves of great
Egyptians to represent servants
w h o w o u l d o t h e r w i s e have b e e n
sacrificed. They were used to
personify the gods in 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. But, to most OÍ US,
puppets are f i g u r e s w h i c h , with
rigid features but lively gestures,
speak their lines from a miniature
R'ight: R o d - p u p p e t , ' G h o s t ' stage.
from 'Nightpiece' by
R. Tescher, V i e n n a , 1 9 1 3 George Bernard S h a w once wrote
that the dramatic influence pup-
Left: G l o v e p u p p e t o f pets h a d o n h i m w a s greater t h a n
J a n Klaasen, t h e D u t c h t h a t of live a c t o r s . He said that
P u n c h , w i t h Katrina, p u p p e t s , w i t h their stiff e x p r e s s i o n
19th century and unnatural posture, give an
impression of oíd pictures and
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
them.
Foreword
Puppets insinúate 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
'The Puppet play is blessed by
c l o t h , mere d o l l s w h i c h o b e y t h e
G o d , a n d b e c a u s e of t h i s it w i l l
hand that controls t h e m and havp
never d i e ' says an Iridian proverb. n o w i l l of their o w n . In t h a t lies

3
their charm and their educative
¡ n f l u e n c e , for their e f f e c t o n us is
deeper than if they resembled
ourselves.

Three aspects of puppetry have

educational valué: the making, the
performance, and the watching
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 of
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 that
in every case t h e y really can 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 puppets,
a n d there are d e f i n i t e 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 créate and to act, and had
exercised and demanded such
skill and technique, as 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.

4
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 and always give the answer

or s m a l l , or h o w t h e y w e r e m a d e , 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
w e gave t h e m ñ a m e s a n d a b i g its o w n q u e s t i o n s . Little wonder
place in o u r c h i l d ' s w o r l d , for d o l l s that children give their whole
are t h e interpreters of a child's affection to them.
thoughts and desires. T h e y are
f r i e n d s , never t o o t i r e d t o play, Those were the dolls w i t h which
never older or wiser than the
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 shall
move from the simple to the
complicated, and suggest ideas
for puppets that can be used
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 í 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 cr,)y b, t i, c

standard of perfection they

achieve.

5
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
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 w o u l d be t h e s m a l l c h i l d ' s game
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 of ' F o r k is M o t h e r a n d S p o o n is
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 - Father' in w h i c h a s p o o n a n d f o r k
pers, eggwhisks can become pup- are g i v e n features w i t h w a x c r a y -
pets. They are taken over un- o n s (easily w a s h e d o f f ) and hair
changed and endowed with of b u n c h e d w o o l .
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, and ¡nserting a hand to
provide support and animation.
T h e y can be m a d e t o appear to
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 spoons to
m a k e our first real p u p p e t s . Given
arms and properly painted and
dressed t h e y w i l l have a d i f f e r e n t
character and improved appear-
ance f r o m t h o s e d e c o r a t e d with
crayon or coloured paper. It is
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 Rod Puppets
f l o w of p a i n t . A w i r e or w o o d e n N o w w e have p u p p e t s w i t h m o v e -
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 able arms. but these arms mt:re(y
§.h9Uld§r§ and § f m s , after which dangle and s w i n g w h e n the p u p -
t h e y c a n be d r e s s e d , a n d h a n d s of pet is t u r n e d f r o m side t o side.
card or felt glued on. These To make them move purposefully,
' 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 attach thin rods of w i r e t o the
their expression by their rigid wrists with thread, flexibly of
l i m b s . If t h e y are t o appear 'on c o u r s e . By a d a p t i n g t h e wooden
stage' it is an advantage if the s p o o n p u p p e t t h e j o b is half d o n e ,
arms c a n be m a d e t o m o v e . T o d o 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
this tie the arms with thread a complete puppet from the be-
securely, b u t f l e x i b l y , t o t h e s h a n k ginning. A length of ±" dowel
of t h e s p o o n - a s p o t of g l u e w i l l
(or b r o o m s t i c k ) w i l l serve for t h e
seal t h e k n o t .
b o d y , w i t h w i r e or w o o d e n arms
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 part
is t h e head w h i c h c a n be made
f r o m a w o o d e n b a l l , or o í 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. AII these can be
painted with poster colour or
pasted w i t h c o l o u r e d paper.

Puppets created with a collage

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 -
pecially lively. Plástic adhesive
can be used t o f a s t e n o n features
cut from illustrations like eyes,
ears, nose a n d hair t o the w o o d e n

9
ball, tennis ball or polystyrene
b l o c k . Y o u c a n also use buttons
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 com-
plete t h e c o l o u r s c a n be m a d e fast
with a coatina, of library paste-
Do not varnish polystyrene as
varnish contains a solvent.

10
The Jumping Jack puppet belongs The repertoire of J u m p i n g Jack
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 ' 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 -
p u p p e t s . It is m a d e of cardboard ing him into a rod puppet and
a n d has very s i m p l e movements. giving the limbs independent
The l i m b s are a c t i v a t e d in )§yer m o v e m e n t by p u d i n g their s t r i n g s
fashion w h e n the ring, to which individually. The rod must be
all t h e strings are t i e d , is p u l l e d . fastened firmly to the body.
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
against a b a c k g r o u n d to prevent 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
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 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
are l i m i t e d t o a s i n g l e p l a ñ e w h e n the strings are fastened to the
t h e r i n g is p u l l e d . h a n d s a n d feet.

12
Shadow Plays
Now to 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 . The
silhouettes need not always be
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 excite-
ment to the p l a y . Solid f i g u r e s c a n
be made in outline resembling
black-on-white drawings. The
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 Puppets 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 the kerchief is held in t h e p a l m of t h e
simplest form of hand puppetry hand with a knot tied in it to
a n d has b e e n t r a c e d b a c k t o t h e represent the head. The thumb
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.

Puppet Heads
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 Índex
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 ó 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 draw-
thread c a n be used t o pulí 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 facilítate 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 créate 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 paste,
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 head using a plástic
modelling material, that moulds
like clay and dries hard, which
can be o b t a i n e d f r o m art s h o p s .
The tube should first be sealed
and then coated with a plástic
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 .

2
Y o u m a y prefer t o use t h e c h e a p e r paper t h a t is p i n c h e d a n d s q u e e z e d
paper-layer method. Begin by into shape.
winding many layers of well-
pasted paper around the tube, Painting the head completes the
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 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
f e a t u r e s , w h i c h can be f o r m e d b y by matt varnishing which also
u s i n g layers of p a s t e - s o a k e d tissue 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 plástic modelling material,
which dries bone-hard and will
stand the k n o c k i n g - a b o u t it w i l l
receive in children's play. The
hO§d 6 I R fee p a í ñ 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 painted, pasted and dressed
a c c o r d i n g t o f a n c y . It is w o r k e d
by hand, being grasped at the
lower end.

20
This solid head will possibly be
t o o h e a v y for y o u r 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 plástic 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 the polystyrene
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 to roll a finger tube
and to insert it f i r m l y into the
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
the plástic modelling material is
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-maché 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
into a firm ball, binding it well
w i t h string and g l u i n g a finger tube
into it. N o w wind paper strips,
well coated with paste, tightly
around it to give it form and
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
§ m§teh§tick c a n serve as an inner
support for a long nose, for
instance. Do not use t o o much
paste as it makes the 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 á c h é heads are n o t easy
t o h o l d a n d w o r k o n . So mould
t h e m o n t o a stick w h i c h c a n be
stuck into a bottle neck to dry.
T h i s takes s o m e t i m e , b u t when
the head is f i n a l l y painted and
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 h a n d s , e s p e c i a l l y if t h e y are t o have
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 sepárate f i n g e r s , a n d w h e t h e r plás-
being fastened to cardboard tubes tic modelling material or papier-
into w h i c h t h u m b and finger can m á c h é is u s e d , it is a d v i s a b l e t o
be inserted so t h a t t h e a r m s c a n make a little f r a m e w o r k of wire
gesticulate. When making the w h i c h c a n be f a s t e n e d t o t h e arm
tube. For the fo©t, tvhñ¿Ji umy
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 Puppets
N o w for a brief i n c u r s i ó n i n t o t h e
realm of t h e mask puppet. The
m a s k is p u l l e d over t h e h e a d of t h e
child who then becomes the
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 decórate such masks.

23
A Variety of Heads is laid layer u p o n layer of tissue
The paper-layer m e t h o d of con- paper e a c h c o a t e d w i t h paste. A s
s t r u c t i o n lends itself readily t o t h e tissue paper is so t h i n at least
m o d e l l i n g of m o r e realistic features eight layers are necessary. To
whilst maintaining strength with ensure a p r o p e r coverage use a
l i g h t n e s s . T h e basic m o d e l is m a d e d i f f e r e n t c o l o u r tissue for altérnate
from Plasticine, using modelling layers. W h e n the head is com-
tools to obtain the fine detail. A pletely d r y c u t it d o w n t h e m i d d l e
c o a t i n g of paste is a p p l i e d t o t h e w i t h a sharp k n i f e a n d r e m o v e t h e
surface of t h e m o d e l o n t o w h i c h Plasticine. The two halves are

24
glued together and the joint made p a p e r - l a y e r s , is a p p l i e d ¿" thick
g o o d w i t h a f e w layers of pasted over t h e P l a s t i c i n e after applying
tissue. W h e n dry the h e a d can be a c o a t of p e t r o l e u m jelly. When
painted and matt-varnished. completely d r y this m a t e r i a l can
hft c a n d e a l to a i c d d y Tine tinistl.
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 plástic w o o d , i n s t e a d of P u p p e t heads c a n be c r e a t e d f r o m
a wide variety of materials and
f r o m table t e n n i s balls, skittles a n d
tennis balls, e t c . But finally we
must mention those carved from
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 are l i m e , maple
and poplar. Balsa w o o d is very
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 ó n -
ettes, a f e w words on a lively,
inexpensive and, in fact, edible
f o r m of puppetry. the Vegetable
Theatre. Apples, pears, 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 - §V§n ¡f ó 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 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 controlled, usually from above,
p o s s i b l e after t h e final c u r t a i n ! solely by s t r i n g s . T h e p r i n c i p i e is
shown here in its clearest and
Marionettes simplest f o r m . A string tied to a
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 piece of c l o t h and jerked about
so far (glove, finger and rod 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
puppets) marionettes are s i m p l y t o d a n c e a n d leap a b o u t . A b i g g e r

26
c l o t h , s u s p e n d e d f r o m a stick by 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
two or m o r e s t r i n g s is a f u r t h e r 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 -
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 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,
o n e h a n d m o v e s t h e stick in the say, little b l o c k s of w o o d i m m e d i -
general direction, the other makes ately creates a n e w a c t o r , a n d t h e
particular movements by pulling way is open to the abstract
on the individual strings. marionette.

27
There is v i r t u a l l y nothing which
c a n n o t be e m p l o y e d in t h e pro-
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 move independently, and
are restricted by their 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 Figures

When one looks at these new
f Í Q Í J f i i ií is ímmed'iateiy obvious
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 í c i e n t . T h e more
elabórate the figure, the more
intricate and elegant the possi-
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, as one
motion often depends on another.
There are m a n y control systems
a n d it is i m p o s s i b l e t o say w h i c h
type is best, but generally the
control is d e s i g n e d to facilítate
t h e s t r i n g i n g necessary t o p r o d u c e
the movements required of the

30
p u p p e t . It is essential t h a t each
moving part of the puppet is
attached to the control by its
sepárate string. The amount of
c o n t r o l exercised over t h e p u p p e t
depends mainly upon the pup-
peteer'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. It is
g r i p p e d f r o m a b o v e in t h e palm
of t h e hand and is r o c k e d and
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 ó 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 per-
mitting each member to move
independently. This allows a
greater range and more subtle
movements.

Also illustrated are examples of

c o n t r o l s d e s i g n e d for specific p u r -
poses, but you will notice that
basically t h e y are cross controls
with additional string supports.
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
and imagination should attempt
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
t a n g l e d strings r e s u l t i n g w h e n a
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 Various

Materials
A s w i t h abstract p u p p e t s , m a r i o n -
ettes can be constructed from
almost anything. The materials
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 ü 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 car-
tons 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 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
the head and neck, arms and basic a r r a n g e m e n t of parts from
hands and legs a n d feet, all of w h i c h all t y p e s of m a r i o n e t t e can
which can be flexibly jointed. 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 -
S i m p l e j o i n t s c a n be m a d e w i t h anee of y o u r m a r i o n e t t e s w i l l d e -
needle a n d t h r e a d , t h e n u m b e r of p e n d u p o n t h e d i v e r s i t y of your
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 abilities.
 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 card-
b o a r d , features can be a d d e d in
I n d i a n ink.

Cardboard tube figures have, of

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 sepárate 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 from a more durable
material, are those of jointing.
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 m a r i o n e t t e w i l l , of c o u r s e , require
hobby shops. Connecting the sep- its j o i n t s t o be neater a n d p r o b a b l y
árate parts c a n be s i m p l e or c o m - more complex - the puppet on
plex depending on what is re- p a g e 3 6 illustrates t h i s .
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 with Finally a w o r d a b o u t h a n d c a r v i n g
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 m a r i o n e t t e s . It is essential t o have
s c r e w eyes p r o v i d e a s i m p l e u n i - good tools. Proper cutting and
versal j o i n t for use at t h e neck, carving tools can be obtained
t r u n k a n d s h o u l d e r . A leather s t o p - from hardware and art-supply
joint c a n be used at t h e elbow 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 In carpenters' workshops there
v i e w of f a c i l i t y are all sorts of scraps of w o o d t h a t ,
the vice to grip
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
w h i c h y o u are
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 solid intelligently. That is t o say, the
w o o d m a r i o n e t t e is t o o h e a v y for puppeteer must understand that
prolonged handling, you could all t h e movements he produces
make the heads, bodies and limbs are t h e result r>f h ; C h a n d i i n y u r m e
l i g h t e r by u s i n g plástic m o d e l l i n g s t r i n g s . If all t h e s t r i n g s are released
material, or papier-máché over 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
polystyrene in the manner de- inimitable marionette fashion.
s c r i b e d o n page 2 1 . T h e plástic
modelling material w i l l g i v e you
l i g h t n e s s w i t h reasonable s t r e n g t h , In t h i s b o o k w e have d e l i b e r a t e l y
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 s h o w n the s i m p l e s t f o r m s of c o n -
d o n e s c r e w eyes, c o r d a n d leather 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
t h o n g s c a n easily be w o r k e d i n t o a b o v e is an e x t r e m e l y intricate e x -
the material w h e r e they will be ample, w h i c h permits the move-
g r i p p e d as if g l u e d as t h e p u p p e t ment of head, body and limbs,
hardens. 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 -
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 - fically to fit the hand of the
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 operator normally 'playing' that
g r a v i t y a n d n e e d s t o be handled marionette.

37
A Small Digression: Puppets
and the Trick Film

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
joining together a series of still
p h o t o g r a p h s , each still b e i n g t a k e n
after a small alteration in the
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 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 ample the stocking puppet, stuffed
require a m o d e l t h a t c a n remain w i t h rag or s a w d u s t , a n d w i t h an
f i x e d in e a c h of t h e p o s i t i o n s set. inner f r a m e w o r k of f l e x i b l e wire
A c h i l d ' s dolí is an o b v i o u s c h o i c e , permitting the position of the
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 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 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

stage is n o t a b s o l u t e l y necessary of t h e a t r e . T h e s h o e - b o x theatre
for t h e production of a puppet is perhaps the most simple to
play, but such productions are make and to opérate. 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 - are o p e n t o us:
ties afforded by the theatre of
traditional type. Therefore let 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 on to the stage will
have to be c u t right across the
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 from the
Winps' thrm !£>>•> v o r t . \ , a f aiutfj 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 Shoe-box
T h e a t r e resting o n a t a b l e , both
hands are free to opérate the
puppets.

To cater for larger audiences a

b i g g e r , b u t similar t y p e of t h e a t r e
can be made from a cardboard
cartón, into w h i c h c a n be i n t r o -
duced larger puppets and mov-
able scenery. At this stage it
b e c o m e s feasible t o use t h e o t h e r
types of puppet, but this will
necessitate s t r e n g t h e n i n g a n d s u p -

41
porting the cardboard cartón the-
atre 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 stage is made re-
movable, the one theatre wi
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 opera-
ting 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 pain-
ted 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 Musical accompaniment presents
or as d e t a i l e d as y o u w i s h . Sheets little d i f f i c u l t y in these d a y s of t h e
of stiff paper, or c a r d b o a r d will portable record player and tape
suffice for t h e s h o r t - l i v e d p r o d u c - recorder. Sound effects can be
tion, but for durability a plástic produced with very simple ap-
paint on canvas is advised. In paratus like pot lids, m e t a l foil,
d e s i g n i n g y o u r scenery r e m e m b e r peas in a t i n or o n a tray, etc. B u t
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 here again the record industry
be b o l d in p r o p o r t i o n a n d careful comes to our aid with a wide
in t h e use of colour: remember v a r i e t y of e f f e c t s o n d i s c .
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
actor. The cardboard backdrop Effective lighting is simple to
can be made self-standing by produce but if mains electricity
f o l d i n g , b u t c a n v a s or paper w i l l is t o be used the advice of a
n e e d a rod at t h e t o p a n d w e i g h t s properly qualified electrician
at t h e b o t t o m t o e n a b l e it t o be should be obtained.
h u n g at t h e b a c k of t h e stage.
Puppetry in School

In t h e f o r e w o r d we stated that ing to circumstances - the ages

three aspects of puppetry are of t h e c h i l d r e n , t h e requirements
educationally valuable: the pro- of the c u r r i c u l u m and the time-
d u c t i o n , t h e play itself, a n d w a t c h - 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
ing and listening. This is, of class.
c o u r s e , very m u c h a generaliza-
r o n , a n d it is t r u e t o say t h a t it A desire to make puppets can
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 arise if for s o m e t i m e t h e c h i l d r e n
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 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
craft particularly if, merely to character figures that could be
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 , given roles t o play. W h e n they
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 have completed a number of
knock together a puppet of in- models the children will often
determinable character, with an express t h e w i s h t o m a k e a p u p p e t
oversimplified script designed only play. T h i s presents an excellent
t o arouse l a u g h t e r . 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.
The production of puppets and Many subjects can benefit from
puppet theatres should always their use; L a n g u a g e by t h e w r i t i n g
pose s o m e artistic a n d technical of a play for p r o d u c t i o n ; History
problems. 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 -
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, pup-
theme involving language and
petry can p r o v i d e t h e basis for an
literature.
a l m o s t t o t a l i n t e g r a t i o n of studies.

Watching and listening should

The simplicity or complexity of
a l w a y s be an act of involvement
t h e w o r k required of t h e c h i l d r e n
w i t h t h e play.
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 -
Finally, w e d o n o t just w a l k into
low. Where children have had
t h e class a n d say. ' T o d a y w e are
previous experience of working
g o i n g t o m a k e p u p p e t s ! ' T h e idea
w i t h p a i n t a n d clay t h e y w i l l have
should origínate from some previ-
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 -
ous occasion and develop a c c o r d -

44
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
matters t h a t m a y w e l l be b e y o n d e x p l a i n e d t h a t , apart f r o m h a v i n g
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 - 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 ,
fore, depending u p o n the ability the íeatures ot each head will need
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 - to be obviously different. An
ment they have received, the 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 -
teacher w i l l determine w h i c h pro- ing this w o u l d be t o set a t h e m e of,
ject is likely to be the most say, ' T h e People In O u r T o w n ' a n d
rewarding. to produce caricatures of those
best k n o w n . Set a t h e m e like ' A l l
A f t e r a s u b j e c t for a play has b e e n Sorts of S t r a n g e B e i n g s ' a n d armies
d e c i d e d u p o n there w i l l be c o n - of m o n s t e r s , m e n f r o m M a r s a n d
siderable c o m p e t i t i o n a m o n g t h e r o b o t s w i l l appear as their i m a g i -
children to model the principal n a t i o n s are released t o run riot.
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 T h e c h i l d r e n w i l l be best able t o
all t h e children, explaining that suggest ñames and characters and
puppet heads are not the only v o i c e s for t h e p u p p e t s t h e y have
t h i n g s of i m p o r t a n c e t o be p r o - made themselves. The groups
d u c e d : t h e r e are t h e c l o t h e s , t h e which have worked together
stage a n d s c e n e r y a n d , e v e n t u a l l y , 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
the lighting and sound effects e x t e m p o r e playlet. T h i s is a par-
a p p a r a t u s . T h e w o r k can t h e n be ticularly fruitful form of activity
shared o u t , each c h i l d , or g r o u p of because such playlets will come
children, being assigned a specific directly f r o m the children's imagi-
task m o s t s u i t e d t o their abilities. nations.

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 The Play

their preparatory work will be Playing with puppets helps de-
utilized in t h e p r o d u c t i o n of t h e velop a child's empathy for the
play. In this w a y e v e r y o n e w i l l feel subject. The ability to feel as
t h a t t h e y have m a d e a really useful t h o u g h he h i m s e l f w e r e treading
c o n t r i b u t i o n . It m a y be necessary the stage, and mentally acting the
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 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 -
skills, developed when working 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 -
w i t h clay, p a p i e r - m á c h é , etc., n o w lative skills are also d e v e l o p e d as
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 he c o p e s with the problems of
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 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 -
of their earlier, p r i m i t i v e P u n c h a n d 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 created b o t h the puppet and the
marionette w i t h its full r a n g e of play. Rehearsals have s h o w n t h e m
m o v e m e n t s offers t h e w i d e s t o p - 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
p o r t u n i t i e s in t h e s e respects. 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
The extempore playlet provides 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 w o r k t o g e t h e r as a t e a m .
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 About Watching and Listening
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 T h e e m p h a s i s so far has b e e n o n
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 acquiring practical skills. Let us
h a v e t o learn t o correlate his role n o w c o n s i d e r t h e v a l u é of w a t c h -
w i t h his f e l l o w players. T h e n o r m a l ing and listening.
play with its pre-selected roles
needs i n t e n s i v e s t u d y a n d inter- W e start w i t h t h e p r e m i s e t h a t in
pretation w h i c h children may find 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
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 - something. Therefore, the puppet
ally w r i t t e n p u p p e t plays are a v a i l - play s h o u l d n o t be a mere v e h i c l e
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 for pleasure a n d e n t e r t a i n m e n t as
ensure t h a t a m o r e p o l i s h e d per- its material c a n be e d u c a t i o n a l in
f 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 the best sense of the word.
whole school. Such a performance 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
should be presented and an- w a t c h and listen c r i t i c a l l y , t o j u d g e
n o u n c e d as a class effort, for it is whether the sense of what the
definitely not a g o o d thing to pick p u p p e t said carne across p r o p e r l y .
o u t a f e w f a v o u r e d c h i l d r e n , leav- Were the movements appropriate?
ing the rest disappointed and How could they be improved?
resentful. 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
The most natural c o m b i n a t i o n of t h e r e ? A r e t h e scenery a n d p r o p s
s u b j e c t s are t h e creative o n e s of r i g h t for t h e p l a y ? Is t h e play at all
art a n d l a n g u a g e , a n d it has o f t e n boring? Has a n y t h i n g been for-
been shown that children's gotten ?
v 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 made easier C h i l d r e n c a n be a critical a u d i e n c e ,
through the médium of puppet- b u t o f t e n lack the a b i l i t y t o put
play d i a l o g u e . their opinions into words. It is,
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
So, in the end, the class has children play the part of stage

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 , 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
i n s t r u c t t h e o t h e r players. 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
W a t c h i n g and listening can fulfil is i m p o r t a n t in life be m a d e i m -
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 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
teacher through the pupbet's real - d i s c o v e r i n g and d o i n g , c o n -
m o u t h gives a ' c u r t a i n l e c t u r e ' or, sidering and deciding, j u d g i n g and
p e r h a p s , in h u m o r o u s v e i n , argües improving, learning and enjoying,
with the puppet on points of w a t c h i n g and listening.
grammar, mathematics, etc. The
puppet will, of course, always In t h e f o l l o w i n g pages w e g o o n
w a n t to answer back! f r o m w h a t w e have already d e m o n -
strated and give additional
The puppet play, whatever its
examples of puppet building.
Empiy packets and containers F a c i n g page: A rod p u p p e t created
offer a h o s t of a d v e n t u r o u s p o s s i - from coloured autumn foliage.
bilities. P u p p e t s m a d e f r o m plástic
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 were rubber balls, corks,
wool, buttons, and so on. The
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.
•Gímpfe 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 for
t h u m b a n d index f i n g e r .

51
A n o í 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 í d s t o c k i n g , p a i n t e d .

54
Woollen skein puppets can be
knitted together from yarn rem-
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 í 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 of these 'man-
drakes' and a complete root-
theatre can be f a s h i o n e d . Stuck
o n to a stick t h e rod p u p p e t is
complete.

56
This big raven, a hand puppet,
c o n s i s t s m a i n l y of a piece of tree
root found in t h e w o o d s , which
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: Karl-Leopold,
Professor Brainwave, the Moon-
dog Bibo, and Circus-Director
Lookhere from 'Karl-Leopold'sTrip
to the M o o n ' . Bottles and d e c o r a -
tions from scrap materials. Text
devised and written by school
children.

59
Marionette 19 ¡nenes high. The
Guard from 'The Story of the
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 odds
and ends, depended on the charac-
ter of t h e f i g u r e s .

60
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. 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 t*u
61
Marionettes 12-20 inches high.
F a c i n g page: R o d p u p p e t 36
The S h o r t a n d the Tall Gnome' i n c h e s h i g h . T h e Rich M p r r h a n t ' .
ffórrí Pícfurés from an Exhibition'. m a d e f r o m c a r d b o a r d , w o o d and
The p r o d u c t i o n a t t e m p t e d t o inter- an electric l i g h t b u l b .
pret the music by Mussorgsky
p i c t o r i a l l y . T h e f i g u r e s are made
from wire, bones, rubber balls,
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 puppets, 24 inches high. Facing p a g e , b e l o w : Marionettes
'Market Women', made from 8 a n d 56 inches h i g h . ' B a b a Yaga
watering cans, sponge-rubber the W i t c h and T w o Birds'. T h e y
strips, c l o t h a n d pearls. 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,
Facing page, above: Rod puppet, etc.
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
i
Facing page: 19th Century hand
puppet, Punch. The whole 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 sepárate 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 Chínese shadow- are v i s i b l e . A r m s a n d h a n d s are
play f i g u r e s . D e m o n in T r a v e l l i n g m o v a b l e a n d in t h e h a n d s can be
Clothes and Official both made seen t h e h o l e s w h i c h take their
f r o m p a r c h m e n t , d y e d in colour. control rods.
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 the a n d w a v e t h e arms. Its p o w e r of
Bucharest Tandarica' Puppet e x p r e s s i o n lies in the very c o m i c
T h e a t r e . T h e h e a d a n d h a n d s are face.
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 Above: 19th Century Sicilian
expressive p a i n t i n g a n d c o s t u m e s . Marionettes - Paladins. T h e r e are
Tube puppets from the State rod c o n t r o l s o n head a n d hands
P u p p e t Theatre in S o f i a (1965), and the f i g u r e s , w h i c h are m a d e
created w i t h c a r d b o a r d a n d tex- f r o m w o o d , textiles a n d m e t a l , are
tiles. 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
19th Century Rod Marionettes.
The marionettes hang on stout
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 the
limbs is controlled by strings.
Scene f r o m a B o h e m i a n National
Marionette Theatre.

72
Figure f r o m a Liége 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 for school
purposes. The figures hang very
simply. It is possible to add
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
strings.

73
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 m a r i o n e t t e w h i c h requires a great
S i e g e l . Florence ( f o r m e r l y B r u n s - n u m b e r of s t r i n g s t o c o n t r o l it.

74
Table of Technical skill levéis for
Grades 1 through 12

Puppets are f o r c h i l d r e n , young children do not meet with un-

p e o p l e a n d adults. T h e y produce necessary d i f f i c u l t i e s w h i c h m i g h t
them and play with them. But discourage them. Teachers will
there is wide variation in the know the capabilities of their
technical difficulties encountered.
pupils and how much they can
T h e f o l l o w i n g t a b l e gives oníy a ask of them.
very general indication, so that

Kindergarten and Grade 1 : Grade 6:

6, 7, 1 5 , 1 6 , 2 0 , 2 3 lower,
26, 27, 48, 50, 5 1 , 56.
G r a d e 2:
6, 7, 1 5 , 1 6 , 2 0 , 2 3 lower,
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 .
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
Cartón converted to p u p p e t stage
4 1 ^ 2
Carving tools 3 5 - 3 6
C'atañía and Acireale 71
Chínese s h a d o w play 13, 6 8
Cloth puppet 15, 54
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
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
Liege, T c h a n t c h e s Theatre 7 3 Sheet metal 6 0
Lighting 43 Shells 6 5
S h o e b o x p u p p e t stage 41
Marionettes 2 6 - 3 7 , 46, 60, 6 1 , 65 Sicilian marionettes 71
controlling 30, 37, 7 1 , 72, 74 Siegel, Michael, p u p p e t by 74
rod 72
S l i p p e r s as p u p p e t s 7
Sicilian 71 Sofia State Puppet Theatre 7 0
Mask puppets 23 Spoon puppets 6 - 8
Musical accompaniment 43, 62 Stage, the 4 1 - 4 3
M u s s o r g s k y , M . Pictures from an
Exhibition 62
T e s c h e r , R, p u p p e t b y 3
Tin-can puppets 1 1 , 28
Natural materials 4 9 , 56, 57, 6 5 Trick film, m a k i n g a 3 8 - 4 0
Negro head 53 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
Orff, C a r i . The Story of the C/ever
Woman 60 Vegetable theatre 26
Paper, c o r r u g a t e d for p u p p e t heads Wajang-Golek figure 67
17 Watching, iistening and CÚfek}
Papier m a c h é p u p p e t h e a d s 2 1 , 37 4, 44, 46, 47
Fiddle 61
Plástic bottle p u p p e t s 4 8 W o o d e n heads, carved 25, 3 5
Plástic m o d e l l i n g material 1 8 - 2 3 , 37 W o o l l e n skein puppets 55
Plástic 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^
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
Cartón converted to puppet stage
41^42
Carving tools 3 5 - 3 6
Catania and Acireale 71
Chínese s h a d o w play 13, 6 8
Cloth puppet 15, 54
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
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
Liege, T c h a n t c h e s Theatre 7 3 Sheet metal 6 0
Lighting 43 Shells 6 5
10
S h o e b o x p u p p e t stage 41
Marionettes 2 6 - 3 7 , 46, 60, 6 1 , 65 Sicilian marionettes 71
controlling 30, 37, 7 1 , 72, 74 Siegel, Michael, puppet by 74
rod 7 2 S l i p p e r s as p u p p e t s 7
Sicilian 71 Sofía State Puppet Theatre 7 0
Mask puppets 23 Spoon puppets 6 - 8
Musical accompaniment 43, 62 Stage, the 4 1 ^ 4 3
M u s s o r g s k y , M . Pictures from an
Exhibition 62
T e s c h e r , R, p u p p e t b y 3
Tin-can puppets 1 1 , 28
Natural materials 4 9 , 56, 57, 6 5 Trick film, m a k i n g a 3 8 - 4 0
Negro head 53
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
Orff, C a r i . The Story of the C/ever
Woman 60 V e g e t a b l e t h e a t r e 2 6
Paper, c o r r u g a t e d for p u p p e t heads Wa¡ang-Golek figure 67
17 Watching, listening and cntóno,
Papier m a c h é p u p p e t h e a d s 2 1 , 37 4, 44, 46, 47
Fiddle 61
Plástic bottle p u p p e t s 4 8 W o o d e n heads, carved 25, 35
Plástic m o d e l l i n g material 1 8 - 2 3 , 37 W o o l l e n skein puppets 55
Plástic 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\
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