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Expert guide explains how to construct several types of puppets and presents exercises for developing distinctive voices, learning puppet movement. Includes stage design, writing plays, directing productions, more. Over 150 black-and-white illustrations.
Drawing on thirty years of making theatre with objects, this field-defining book maps the terrain of applied puppetry. Through a range of case studies both personal and practical, Matt Smith offers a reflective and engaging study which provides makers, thinkers and students alike with a toolkit for thinking about and making puppetry in community settings. Through eight chapters, Smith muses on the nature of creativity, explores approaches to puppetry through ecology, and considers how puppets and objects affect the act of making and – in turn – how they affect those who make, use and experience them in performance. Along the way, Applied Puppetry offers practical exercises in theatre-making, demonstrates the political power of puppetry beyond borders, and interrogates the limitations and possibilities of puppetry and object theatre in local communities, volatile contexts and difficult circumstances.
This volume is about puppetry, an expression of popular and folk culture which is extremely widespread around the world and yet has attracted relatively little scholarly attention. Puppetry, which is intended for audiences of adults as well as children, is a form of communication and entertainment and an esthetic and artistic creation. Of the many aspects of puppetry worthy of scholarly study, this book's focus is on a central and dominant feature--humor and comedy.
In Puppetry in Education and Therapy: Unlocking Doors to the Mind and Heart, one finds enormous variety, ingenuity, and creativity in the types of puppets, and the ways they are used in education and in therapy. Puppeteers, therapists, and educators, articulate what is meant by “puppetry in education” and “puppet therapy” and how it is the same or different from “puppet theatre”. They describe the unique characteristics and theory of puppetry in education and therapy, the skills it takes to be successful in these areas, the skills that are passed on to people who use puppets for personal expression, and how to assess the impact of puppets on learning or behavior change. Twenty-six authors discuss topics such as puppetry and the multiple intelligences; the process versus the product; using puppetry in schools to promote literacy, preserve cultural heritage, and teach music; how puppetry contributes to Core Curriculum Standards, the theoretical underpinnings of therapeutic puppetry, and a range of ways of facilitating growth and development. If you’re already using puppets, this book will inspire you to understand your work differently and to explore new possibilities. If you’re a teacher or a therapist and you’ve never used puppets before, it will open a whole world of possibilities. This book illustrates that puppetry arts can affect learning and behavior and that puppets indeed have the power to unlock doors to the mind and heart.
Puppetry has become a significant force in contemporary theatre and thousands of puppets from various cultures and time periods have been collected by scholars, enthusiasts, and curators, who wisely realized that these material images can teach us much about the societies for which they were created. This book consists of essays by the curators of the most significant puppet collections in the United States and by leading scholars in the field. In addition to the descriptive and analytical essays on the collections, the book includes an overview of American puppetry today, a history of puppetry in the United States, and essays on the theater of Julie Taymor, the Jim Henson Company, Howdy Doody's custody case, puppet conservation, and the development of virtual performance space. The fourteen collections discussed include those of the Smithsonian Institution, the Harvard University Theatre Collection, the Brander Matthews Collection at Columbia University, the American Museum of Natural History, and the Center for Puppetry Arts in Atlanta. Appendices provide a listing of additional puppetry collections and a filmography of puppetry at the New York Public Library Donnell Media Center. The work concludes with a bibliography and index and is illustrated with many beautiful photographs of puppeteers and puppets on display and in performance.
This volume, which originally appeared as a special issue of TDR/The Drama Review, looks at puppets, masks, and other performing objects from a broad range of perspectives. Puppets and masks are central to some of the oldest worldwide forms of art making and performance, as well as some of the newest. In the twentieth century, French symbolists, Russian futurists and constructivists, Prague School semioticians, and avant-garde artists around the world have all explored the experimental, social, and political value of performing objects. In recent years, puppets, masks, and objects have been the focus of Broadway musicals, postmodernist theory, political spectacle, performance art, and new academic programs, for example, at the California Institute of the Arts.This volume, which originally appeared as a special issue of TDR/The Drama Review, looks at puppets, masks, and other performing objects from a broad range of perspectives. The topics include Stephen Kaplin's new theory of puppet theater based on distance and ratio, a historical overview of mechanical and electrical performing objects, a Yiddish puppet theater of the 1920s and 1930s, an account of the Bread and Puppet Theater's Domestic Resurrection Circus and a manifesto by its founder, Peter Schumann, and interviews with director Julie Taymor and Peruvian mask-maker Gustavo Boada. The book also includes the first English translation of Pyotr Bogatyrev's influential 1923 essay on Czech and Russian puppet and folk theaters. Contributors John Bell, Pyotr Bogatyrev, Stephen Kaplin, Edward Portnoy, Richard Schechner, Peter Schumann, Salil Singh, Theodora Skipitares, Mark Sussman, Steve Tilllis
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.