traditional and contemporary puppetry

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TRADITIONAL AND CONTEMPORARY PUPPETRY

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Page 1: Traditional and contemporary puppetry

TRADITIONAL AND

CONTEMPORARY PUPPETRY

Page 2: Traditional and contemporary puppetry

Basic Introduction Puppetry is a form of theatre or performance which

involves the manipulation of puppets. It is very ancient, and is believed to have originated 30,000 years BC. Puppetry takes many forms but they all share the process of animating inanimate performing objects. Puppetry is used in almost all human societies both as an entertainment – in performance – and ceremonially in rituals and celebrations such as carnivals.

Most puppetry involves storytelling. The impact of puppetry depends on the process of transformation of puppets, which has much in common with magic and with play. Thus puppetry can create complex and magical theatre with relatively small resources.

Page 3: Traditional and contemporary puppetry

Indian Puppetry Puppetry throughout the ages has

held an important place in traditional entertainment.

The themes were basically EPICS and LEGENDS.

Puppets from different parts of the country have their own identity.

The presentation of puppet programmes

involves the creative efforts of many people

working together.

Page 4: Traditional and contemporary puppetry

Types of Puppets String Puppets

Rod Puppets

Glove Puppets

Shadow Puppets

Page 5: Traditional and contemporary puppetry

String Puppets The traditional marionettes of

Rajasthan and Karnataka are known as Kathputli and Gombeyatta respectively.

Carved from a single piece of wood, these puppets are like large dolls that are colorfully dressed.

Puppeteers manipulate them with two to five strings which are normally tied to their fingers and

not to a prop or a support.

Page 6: Traditional and contemporary puppetry

The puppeteer manipulates string puppets with strings so that the puppets appear to be dancing. As the musicians play their drums, cymbals and flutes, an artist sings a song and makes the puppets dance to reflect the mood of the song.

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Rod PuppetsRod puppets are an extension of glove-puppets, but

often much larger and are supported and manipulated by rods from below.

This form of puppetry now is found mostly in West Bengal and Orissa. The tradition of rod puppet in Bengal goes back to the end of fourteenth century and known as a Putul Natch (Puppet dance), with an emphasis on operatic singing and

performance of a Jatra (folk play). The dancing and the acting elements of the performance are hinged on the traditions

of Ramayana, Mahabharata  and Puranas.

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Page 9: Traditional and contemporary puppetry

Glove PuppetsGlove puppets, are also known as sleeve, hand or

palm puppets. These puppets are like limp dolls, but in the hands of an able puppeteer, are capable of producing a wide range of movements.

The head is made of either paper mache, cloth or wood, with two hands emerging from just below the neck. The rest of the figure consists of a long flowing skirt.

The tradition of glove puppets in India is popular in Uttar Pradesh, Orissa, West Bengal and Kerala.

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Page 11: Traditional and contemporary puppetry

Shadow Puppets Shadow puppets are flat figures. They are cut out

of leather, which has been treated to make it translucent. Shadow puppets are pressed against the screen with a strong source of light behind it. The manipulation between the light and the screen make silhouettes or colourful shadows, as the case may be, for the viewers who sit in front of the screen.

This tradition of shadow puppets survives in Orissa. Kerala, Andhra Pradesh, Karnataka,

Maharashtra and Tamil Nadu.

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Page 13: Traditional and contemporary puppetry

Contemporary Puppetry Japanese bunraku puppets:

Page 14: Traditional and contemporary puppetry

The style is named after a Japanese puppet master, Uemura Bunrakuken, of the 18th century. These figures, which are one-half to two-thirds life size, may be operated by as many as three manipulators: the chief manipulator controls head movements with one hand by means of strings inside the body, which may raise the eyebrows or swivel the eyes, while using the other hand to move the right arm of the puppet; the second manipulator moves the left arm of the puppet;

and the third moves the legs; the coordination of movement between these three artists requires long and devoted training.

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Finger Puppet:

The manipulator’s two fingers constitute the limbs of a puppet, whose body is attached over the manipulator’s hand. An even simpler finger puppet is a small, hollow figure that fits over a single finger.

Page 16: Traditional and contemporary puppetry

Water Puppetry in Vietnam:

Page 17: Traditional and contemporary puppetry

The puppets are made out of wood and then lacquered. The shows are performed in a waist-deep pool. A long rod supports each puppet under the water and is used by the puppeteers, who are normally hidden behind a screen, to control it so that the puppet appears to be moving over the water.

The theme of the skits is rural and has a strong reference to Vietnamese folklore. It tells of day-to-day

living in rural Vietnam and Vietnamese folk tales that are told by grandparents to their grandchildren. 

Page 18: Traditional and contemporary puppetry

Blair Thomas and his puppets:

Blair Thomas & Company is a Chicago-based theater company that creates and performs contemporary puppetry and visual theater locally, nationally, and internationally. 

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Page 20: Traditional and contemporary puppetry