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Mouse works in the scullery at Dunston Manor, peeling onions, stirring the pots, sweeping the floors, and doing her best not to get into trouble with the fractious cook. Alone at night in the dark corner she calls home, she wishes for something wondrous to happen and dreams of a better life. But what chance does she have, a girl born with nothing, not even a proper name? Then Mouse sees a puppet play and knows at once what she must do. Somehow she must learn to make the puppets dance. Somehow she must become the puppeteer's apprentice. But the puppeteer is harboring some uncomfortable secrets, and Mouse doesn't know whether she has the courage it takes to fulfill her dreams. How Mouse finds her place in the world, and a very special name, is the heart of this thoroughly absorbing and remarkable story set in medieval England.
Who is the man called Sabura, the mysterious bandit who robs the rich and helps the poor? And what is his connection with Yosida, the harsh and ill- tempered master of feudal Japan's most famous puppet theater? Young Jiro, an apprentice to Yosida, is determined to find out, even at risk to his own life. Meamwhile, Jiro devotes himself to learning puppetry. Kinshi, the puppet master's son, tutors him. When his sheltered life at the theater is shattered by mobs of hungry, rioting peasants, Jiro becomes aware of responsibilities greater that his craft. As he schemes to help his friend Kinshi and to find his own parent, Jiro stumbles onto a dangerous and powerful secret....
explosexuawesome: adj. An eye-bursting, skull-incinerating, kitty-consternating brand of cool. You know, the type of job we all want. Author Mose Hayward will have you laughing all the way to a new career with The Explosexuawesome Career Guide. Yes, there are actual people who are paid to blow up yachts, taste ice cream, and stand around nightclubs looking cool. How does one go about landing such jobs? What are the qualifications? And more important, how much does one get paid? These questions and many more are hilariously answered in Mose Hayward's The Explosexuawesome Career Guide. Exposing all the cool careers your guidance counselor never mentioned, The Explosexuawesome Career Guide is a perfect (and totally necessary) gift for all recent graduates. Weird, bizarre, and unusual but totally awesome jobs are out there for the taking. Author Hayward has sought out holders of these most outlandish, one-in-a-million jobs, and interviewed them to discover crucial information, such as how they got hired and what they do all day. With Hayward's insightful interviews, the reader gets hilarious step-by-step instructions on how they, too, can achieve these cool-yet-odd positions. Each career is illustrated by the comic art of Chris Stangl. This outlandish parody of career guidebooks is sure to entertain, whether or not you're in the market for a new career.
Linking actual instances of language use with structures of social power in francophone Belgium, Gross outlines the history and contemporary configuration of rod puppetry in Liège. The analysis of this working class performance art moves between what occurs on and off stage. As puppeteers speak in other voices, sometimes in Walloon and sometimes in French, they create a sociolinguistic model based on 19th century renditions of medieval texts, the voices of past puppeteers, and the language that surrounds them. The high level of linguistic reflexivity created by the regional language movement has led to frequent metalinguistic and metapragmatic commentaries within the puppet shows. This complex speech genre embedded in social context shows the influence of identity struggles: from local class oppositions to imperial designs abroad. Keeping a tight focus on language, Speaking in Other Voices examines the process of entextualization and recontextualization as stories of war and religion are transmitted to succeeding generations.
Impressed by the work of the puppetmaster and his apprentice, Tavia’s ruler, The Margrave, has ordered dozens of life-size marionette soldiers to be sent to Wolfspire Hall. When the orders for more soldiers come in with increasingly urgent deadlines, the puppetmaster’s health suffers and Pirouette, his daughter and protégé, is left to build in his stead. But there is something far more twisted brewing at Wolfspire—the Margrave’s son wants Pirouette to create an assassin. And he wants her to give it life. With Tavia teetering on the brink of war and her father dying in the dungeons, Pirouette has no choice but to accept. Racing against the rise of the next blue moon—the magic that will bring her creations to life—she can't help but wonder, is she making a masterpiece...or a monster?
Throw Your Voice is a story of loss and recovery. It relates how children placed in a temporary care institution make sense of their situations. Moving between a Kazakhstan government children's home, Hope House, and the Almaty State Puppet Theater, Meghanne Barker shows how children, and puppets, as proxies, bring to life ideologies of childhood and visions of a rosy future. Sites and stories run in parallel. Framed by the narrative of Anton Chekhov's "Kashtanka," about a lost dog taken in by a kind stranger, the author follows the story's staging at the puppet theater. At Hope House, children find themselves on a path similar to Kashtanka, dislodged from their first homes to reside in a second. The heart of this story is about living in displacement and about the fragile intimacies achieved amidst conditions of missing. Whether due to war, migration, or pandemic, people get separated from those closest to them. Throw Your Voice examines how strangers become familiar, and how objects mediate precarious ties. She shows how people use fantasy to mitigate loss.
A medieval orphan girl called Mouse gains the courage she needs to follow her dreams of becoming a puppeteer's apprentice.
The puppet creates delight and fear. It may evoke the innocent play of childhood, or become a tool of ritual magic, able to negotiate with ghosts and gods. Puppets can be creepy things, secretive, inanimate while also full of spirit, alive with gesture and voice. In this eloquent book, Kenneth Gross contemplates the fascination of these unsettling objects—objects that are also actors and images of life. The poetry of the puppet is central here, whether in its blunt grotesquery or symbolic simplicity, and always in its talent for metamorphosis. On a meditative journey to seek the idiosyncratic shapes of puppets on stage, Gross looks at the anarchic Punch and Judy show, the sacred shadow theater of Bali, and experimental theaters in Europe and the United States, where puppets enact everything from Baroque opera and Shakespearean tragedy to Beckettian farce. Throughout, he interweaves accounts of the myriad faces of the puppet in literature—Collodi’s cruel, wooden Pinocchio, puppetlike characters in Kafka and Dickens, Rilke’s puppet-angels, the dark puppeteering of Philip Roth’s Micky Sabbath—as well as in the work of artists Joseph Cornell and Paul Klee. The puppet emerges here as a hungry creature, seducer and destroyer, demon and clown. It is a test of our experience of things, of the human and inhuman. A book about reseeing what we know, or what we think we know, Puppet evokes the startling power of puppets as mirrors of the uncanny in life and art.