From: "Alan Cook" <alangregorycook-AT-msn.com> To: puptcrit-AT-lists.driftline.org Date: Tue, 17 Jan 2006 18:48:05 GMT Subject: [Puptcrit] Taiwan hand puppet head repair Oh, oh. Another puppeteer made a big mistake and broke a wood head. If there IS a candidate for giving up puppetry, that person is at the top of the list. Is the cracked head a small or large head? If large, the crime of throwing it with no experience is a felony. Probaby it will be necessary to separate the two pieces if you can't get enough glue into the split. Try long tooth picks, bamboo skewers or a strip of manila folder to spread the glue if you do not have to split the head any further. It would be best to keep the head as intact as possible, use heavy rubber basnds as a "clamp". Good luck. ALAN COOK -----Original Message----- From: puptcrit-request-AT-lists.driftline.org Sent: Tue, 17 Jan 2006 10:30:32 -0800 To: puptcrit-AT-lists.driftline.org Subject: puptcrit Digest, Vol 15, Issue 28 Send puptcrit mailing list submissions to puptcrit-AT-lists.driftline.org To subscribe or unsubscribe via the World Wide Web, visit http://lists.driftline.org/listinfo.cgi/puptcrit-driftline.org or, via email, send a message with subject or body 'help' to puptcrit-request-AT-lists.driftline.org You can reach the person managing the list at puptcrit-owner-AT-lists.driftline.org When replying, please edit your Subject line so it is more specific than "Re: Contents of puptcrit digest..." Today's Topics: 1. Re: another note on TV and lip sync (mjm) 2. Re: another note on TV and lip sync (eileen blumenthal) 3. 12 best puppets ever (Susan Kinney) 4. repairing taiwanese glove puppet (Yvette Edery) 5. Re: repairing taiwanese glove puppet (Mathieu Ren?) 6. Re: repairing taiwanese glove puppet (Yvette Edery) 7. Re: repairing taiwanese glove puppet (Mathieu Ren?) 8. Re: 12 Best Puppets Ever? (mjm) 9. Re: 12 best puppets ever (BiersBlackwood-AT-aol.com) 10. Re: (no subject) (nmt) 11. Re: (no subject) (sandbar-AT-wowway.com) 12. Re: (no subject) (corenste-AT-hunter.cuny.edu) ---------------------------------------------------------------------- Message: 1 Date: Mon, 16 Jan 2006 14:31:02 -0600 From: mjm <mmoynihan-AT-wi.rr.com> Subject: Re: [Puptcrit] another note on TV and lip sync To: puptcrit-AT-lists.driftline.org Message-ID: <10a8062fdc9b55f3bca9af9b2614cbf5-AT-wi.rr.com> As I grew up as a kid in Wisconsin I was very much a fan of Warner Brothers Looney Tunes. Today I still prefer highly stylized animation over attempts at realistic/naturalistic animation. My first memories of puppets were the sock puppets my mother made for us. On TV it was, of course, "Kukla, Fran and Ollie" and Howdy Doody. My tastes have remain the same despite years, experience and training. When I initially studied theatre in college it was in a very naturalistic/Stanislavski influenced department. So when given a chance to study highly stylized and presentational Kabuki & Noh, it opened my eyes to other traditions (Commedia del Arte, circus arts, mime & pantomime, musicals, Bunraku, etc.). I still prefer everything to be as non reality/naturalistic as possible. Engaging and employing the audience's imagination to use it's abilities to give the form & subject matter of the art some highly subjective meaning/content is what it is all about for me. I can understand how lip syncing becomes important in the early days of TV, which even today is still dominated by talking heads. But, and this is just my highly subjective opinion, the more realistic/naturalistic puppetry or animation or theatre tries to become, the less interesting, engaging and artistic it is for me. Also, I would never want to be in the position to have to "certify" the professionalism or quality of another artist. Life is too short and art is too long and wide and deep for such things. Hippocrates may have been meaning the medical arts, but I think this quote applies to much more: ?Life is short, But the art is long, Opportunity fleeting, The experiment perilous." mjm ------------------------------ Message: 2 Date: Mon, 16 Jan 2006 15:49:02 -0500 From: eileen blumenthal <hrotsvitha-AT-earthlink.net> Subject: Re: [Puptcrit] another note on TV and lip sync To: puptcrit-AT-lists.driftline.org Message-ID: <3BF82732-85EF-4F01-B44F-7FFD8A9F335D-AT-earthlink.net> format=flowed Right on, mjm. Eileen (Eileen Blumenthal) On Jan 16, 2006, at 3:31 PM, mjm wrote: > As I grew up as a kid in Wisconsin I was very much a fan of Warner > Brothers Looney Tunes. Today I still prefer highly stylized animation > over attempts at realistic/naturalistic animation. My first > memories of > puppets were the sock puppets my mother made for us. On TV it was, of > course, "Kukla, Fran and Ollie" and Howdy Doody. > > My tastes have remain the same despite years, experience and training. > When I initially studied theatre in college it was in a very > naturalistic/Stanislavski influenced department. So when given a > chance > to study highly stylized and presentational Kabuki & Noh, it opened my > eyes to other traditions (Commedia del Arte, circus arts, mime & > pantomime, musicals, Bunraku, etc.). I still prefer everything to > be as > non reality/naturalistic as possible. Engaging and employing the > audience's imagination to use it's abilities to give the form & > subject > matter of the art some highly subjective meaning/content is what it is > all about for me. > > I can understand how lip syncing becomes important in the early > days of > TV, which even today is still dominated by talking heads. But, and > this > is just my highly subjective opinion, the more realistic/naturalistic > puppetry or animation or theatre tries to become, the less > interesting, > engaging and artistic it is for me. > > Also, I would never want to be in the position to have to "certify" > the > professionalism or quality of another artist. Life is too short and > art > is too long and wide and deep for such things. > > Hippocrates may have been meaning the medical arts, > but I think this quote applies to much more: > > ?Life is short, > But the art is long, > Opportunity fleeting, > The experiment perilous." > > mjm > _______________________________________________ > List address: puptcrit-AT-lists.driftline.org > Admin interface: http://lists.driftline.org/listinfo.cgi/puptcrit- > driftline.org > Archives: http://www.driftline.org ------------------------------ Message: 3 Date: Mon, 16 Jan 2006 10:51:01 -0500 From: "Susan Kinney" <rhienzi-AT-hotmail.com> Subject: [Puptcrit] 12 best puppets ever To: puptcrit-AT-lists.driftline.org Message-ID: <BAY101-F2423A90BCFD11C404DBF3FA41B0-AT-phx.gbl> Since Triumph's blue humor did not stop him from making the puppeteer's dozen of "best puppets ever", Note: I think a lot of people missed this link in the first "12 best puppets ever" email. Puppeteers didn't make this choice... http://www.crowndozen.com/twelves/archives/000239.shtml ------------------------------ Message: 4 Date: Mon, 16 Jan 2006 18:28:20 -0800 (PST) From: Yvette Edery <art_goo-AT-yahoo.com> Subject: [Puptcrit] repairing taiwanese glove puppet To: new puptcrit <puptcrit-AT-driftline.org> Message-ID: <20060117022820.61073.qmail-AT-web33115.mail.mud.yahoo.com> Hi Friends, Do any of you know how to repair Taiwanese glove puppets? I was given one as a gift from another puppeteer in cultural exchange and it was immediately very, very special to me and someone else broke it that very same day. It's head is cracked right off and I want to know how best to glue it back and repair the paint and laquer. If you know a lot about this style and need to see a picture to best advise, email me and I will send you one/some. If not and you can share with the list, please do, it would mean so much to me. It really broke my heart when I went to glue it and saw how badly it was broken. Thanks, Yvette Edery Director, ArtistrYE Productions Puppetry for Film, Television, & Theater www.artistrye.com __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Message: 5 Date: Mon, 16 Jan 2006 22:12:58 -0500 From: Mathieu Ren? <creaturiste-AT-magma.ca> Subject: Re: [Puptcrit] repairing taiwanese glove puppet To: <puptcrit-AT-lists.driftline.org> Message-ID: <000f01c61b13$ec178210$b234f3c7-AT-critter1> reply-type=original I'm sorry for your hurt, Yvette. I wonder what that brute was thinking about, hurting a puppet! But a glove puppet...is it not supposed to be very strong to resist being hit by fellow puppets with the stick? Maybe if you ship it to the original artist (if known) so it can be repaired by the same talent and supplies and be better than new? I wish you the best possible success in getting the puppet fully restored. Mathieu Ren? Cr?aturiste Marionnettes, Masques, Etcetera... Puppets, Masks, Etcetera... creaturiste-AT-magma.ca www.creaturiste.com (514) 274-8027 ------------------------------ Message: 6 Date: Mon, 16 Jan 2006 20:37:35 -0800 (PST) From: Yvette Edery <art_goo-AT-yahoo.com> Subject: Re: [Puptcrit] repairing taiwanese glove puppet To: puptcrit-AT-lists.driftline.org Message-ID: <20060117043735.95105.qmail-AT-web33104.mail.mud.yahoo.com> Dear Mathieu, Thank you for the kind words. Glove puppets are indeed built very strongly, however this one took a real blow. A fellow puppeteer asked me to let them manipulate the puppet and since they were a puppeteer I did not think twice before handing it over. They had seen a Taiwanese puppeteer flip the puppet and have it land back on their hand and attempted to simulate the trick and my puppet flew into the air and smashed into the wall, shattering the laquer and taking the head right off the neck. It is holding on by a thread, but the crack goes all the way through. I don't know whether or not to just take it off so I can glue the line thoroughly, or to glue the outside and hope it holds. Its going to be like ripping a bandaid though, whatever I decide to do. I would send it to the very puppeteer who gave it to me, however, when he gave it to me (which was a totally lovely moment I will remember forever, we exchanged our puppets as gifts) he said it was very old and a gift from his master and he was not a builder (in Taiwan the builders do not perform and the performers do not build). I know I could get another on ebay, but this is the kind of gift you cannot ever replace. It has meaning. It came from the heart. I want to fix this one, not spend money I don't have on another one. Even if I had the money to buy a hundred glove puppets, I would not want to. He's a little clown puppet. Yvette --- Mathieu Ren? <creaturiste-AT-magma.ca> wrote: > I'm sorry for your hurt, Yvette. > I wonder what that brute was thinking about, hurting > a puppet! > > But a glove puppet...is it not supposed to be very > strong to resist being > hit by fellow puppets with the stick? > > Maybe if you ship it to the original artist (if > known) so it can be repaired > by the same talent and supplies and be better than > new? > > I wish you the best possible success in getting the > puppet fully restored. > > > Mathieu Ren? Cr?aturiste > Marionnettes, Masques, Etcetera... > Puppets, Masks, Etcetera... > creaturiste-AT-magma.ca > www.creaturiste.com > (514) 274-8027 > > _______________________________________________ > List address: puptcrit-AT-lists.driftline.org > Admin interface: > http://lists.driftline.org/listinfo.cgi/puptcrit-driftline.org > Archives: http://www.driftline.org > __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Message: 7 Date: Mon, 16 Jan 2006 23:52:46 -0500 From: Mathieu Ren? <creaturiste-AT-magma.ca> Subject: Re: [Puptcrit] repairing taiwanese glove puppet To: <puptcrit-AT-lists.driftline.org> Message-ID: <001201c61b21$e6fcdd80$b234f3c7-AT-critter1> reply-type=original Thanks for the details Yvette. Seems to me this puppet's scar will be part of it's lifestory, once you repair him. And repairing could be a great learning experience in taiwan building and painting materials. Just the research part beforehand could be rewarding. Just like me to try and see the positive in this tragedy. I hope it all works out for you and your injured buddy. Mathieu Ren? Cr?aturiste Marionnettes, Masques, Etcetera... Puppets, Masks, Etcetera... creaturiste-AT-magma.ca www.creaturiste.com (514) 274-8027 ------------------------------ Message: 8 Date: Mon, 16 Jan 2006 22:56:40 -0600 From: mjm <mmoynihan-AT-wi.rr.com> Subject: Re: [Puptcrit] 12 Best Puppets Ever? To: puptcrit-AT-lists.driftline.org Message-ID: <b5c380c7a7db78a629e6a1e0f16ad9a4-AT-wi.rr.com> My personal top 12 Puppets 1. Mr. Riley, my 1st sock puppet (made by my mother) 2. Bulbous, 1st 16' giant, much too heavy, puppet we made for our summer outdoor parades & shows 3. Mr. Lunch (our variation on Punch, Mr. Lunch beat the heck out of junk food puppets for our "Lunch & Foodie" puppet show) 4. Mr. Twinkie (one of the villains/victims from "Lunch & Foodie", who when whacked by Mr. Lunch's bat/spoon shot white filling ? actually shaving cream from a pressurized can inside the puppet? to the howling delight of young and old audience members) 5. Punch the Red (The San Francisco Mime Troupe creation) 6. Mother Earth & Dr. Plutonium ?tie? (from our environmental show "Dr. Plutonium's Energy Circus!") 7. Any and all of BREAD & PUPPET THEATER'S puppets. 8. The giant puppets in Provisional Theatre's "Voice of the People" 9. Ken Feit's tiny origami/gum wrapper puppet 10. Paul Zaloom's object puppets 11. The grotesque muppets that appeared on the early Saturday Night Live TV show (like Scred and Ploobis) 12. Unadorned left & right hands having a conversation before a live audience. ------------------------------ Message: 9 Date: Tue, 17 Jan 2006 09:30:59 EST From: BiersBlackwood-AT-aol.com Subject: Re: [Puptcrit] 12 best puppets ever To: puptcrit-AT-lists.driftline.org Message-ID: <2d2.14a6269.30fe59a3-AT-aol.com> I don't know that I saw old Charlie McCarthy on the list, but I'd put him there, as well as the Abe Lincoln figure Walt Disney introduced at the World's Fair for "Great Moments with Mr Lincoln." I'd include Abe as the representative for all the audio-animatronic theme park figures, including the newer Sarcos figures. Of course, at his premiere, there were still a few bugs in Mr Lincoln, who took an extra bow before an audience, and who tore his chair apart at a run-through. The robot was made to be even taller than the human Lincoln, and was known to take wild swings toward onrushing technicians (with bits of that broken chair), a la King Kong, or so the story went. Sean K. http://www.puppets.inuk.com/americas/usroundup.htm ------------------------------ Message: 10 Date: Tue, 17 Jan 2006 11:46:12 -0500 From: "nmt" <nmt-AT-sover.net> Subject: Re: [Puptcrit] (no subject) To: <puptcrit-AT-lists.driftline.org> Message-ID: <002101c61b85$879c3700$0200a8c0-AT-DAVIDSTOY> Dear Claudia: Putting my $.03 in (as opposed to $.02 - inflation is effecting everything these days): MY personal feelings concerning how to evaluate and critic a puppet performance as opposed to one performed by live actor is that there should be NO difference. It is either good theatre or bad theatre whether performed by live actors or puppets. A good puppet performance is what one would refer to as 'puppet theatre' and a bad show is what one would refer to as 'a puppet show' - BE SURE THAT DIFFERENCE IS POINTED OUT. I would also expect the person doing the critic of a puppet performance to also take into consideration, and comment upon, the over all design and manipulation of the figures. Would be interested hearing from other puppeteers as to how THEY would expect a puppet critic to review their shows David A. Syrotiak, Artistic Director NATIONAL MARIONETTE THEATRE -----Original Message----- From: puptcrit-bounces-AT-lists.driftline.org [mailto:puptcrit-bounces-AT-lists.driftline.org] On Behalf Of corenste-AT-hunter.cuny.edu Sent: Thursday, January 12, 2006 1:46 PM To: puptcrit-AT-lists.driftline.org Subject: [Puptcrit] (no subject) Hi All, I am a Prof. at Hunter College in New York writing on puppetry, and one thing I am hoping to write in the coming months is a kind of primer for the contemporary puppet critic: an article that explores the particular issues and considerations for viewing and evaluating puppetry opposed to live actor theatre. Considering the recent discussion here, it looks like this project that I've had in mind for a while is indeed a good idea. I would love your input. Thanks, feel free to reply directly to me at: corenste-AT-hunter.cuny.edu Claudia Orenstein _______________________________________________ List address: puptcrit-AT-lists.driftline.org Admin interface: http://lists.driftline.org/listinfo.cgi/puptcrit-driftline.org Archives: http://www.driftline.org ------------------------------ Message: 11 Date: Tue, 17 Jan 2006 11:53:19 -0600 From: sandbar-AT-wowway.com Subject: Re: [Puptcrit] (no subject) To: puptcrit-AT-lists.driftline.org Message-ID: <20060117171943.M78603-AT-wowway.com> On Tue, 17 Jan 2006 11:46:12 -0500, nmt wrote > A good puppet performance is what one would refer to as 'puppet > theatre' and a bad show is what one would refer to as 'a puppet > show' I'm not comfortable with defining a puppet show as a "bad show" and defining "puppet theatre" as a "good performance". Whether it is a perfomance with people or with puppets, we use the word "show" not to describe the quality of the performance, but to name the experience. "Avenue Q" is a Broadway show. But we've used the "s" word. Is it therefore by definition "bad"? Locally, community theatre isn't critiqued because the one- horse-town-newspaper-reviewer doesn't review anything by a company that is all volunteer. He has a mental attitude reflecting the idea that community theatre isn't "real theatre". Is that what we're trying to accomplish? I think you're trying to come up with a way to differentiate between a good show and a bad show by saying one is a just a "show" and the other is "theatre" (sound nasal and snobbish when you say it). But I've seen quality productions in a community theatre or with a church ministry and I've seen lousy productions from bigger named groups. Having been involved in a lot of community theatre, I'd say there is a lot of good stuff being done by community theatre and a lot of bad. But it's still theatre. I would also expect > the person doing the critic [sic] of a puppet performance to also take > into consideration, and comment upon, the over all design and > manipulation of the figures. > That's getting into the truly important element of the critique: the performance itself. Critique the story, the design, the performance without the condemnation that it's not "real theatre". -- Sandy Barton sandbar productions SDG ------------------------------ Message: 12 Date: Tue, 17 Jan 2006 13:30:24 -0500 From: corenste-AT-hunter.cuny.edu Subject: Re: [Puptcrit] (no subject) To: puptcrit-AT-lists.driftline.org Message-ID: <20060117133024.kx781geoe2uc4wgc-AT-webmail.hunter.cuny.edu> It seems to me the interest in the issue of puppet criticism lies more in the kind of remark David said about "I would also expect the person doing the critique of a puppet performance to take into consideration, and comment upon, the over all design and manipulation of the figures." We all want a great experience at the theatre, whether we are watching puppets or human actors. But what makes a great experience? Do the same elements make a great experience for each of these artistic forms? Or, when watching puppet theatre, are there different elements we want to pay attention to and take into account and think about how to evaluate? And if so, how do we judge success and virtuosity in this arena? Just as you wouldn't apply the same criteria to a dance or even an opera performance as you would to a theatrical performance, your attention is not placed in the same place with theatre and puppetry. So where should a critic be placing his/her attention? How should a critic be appraising those elements unique to puppetry? The lypsinching discussion is a very good example. Is this part of the art a critic should be looking for? Obviously someone trained to look at theatre may not be taking this skill into account, or noting that it is a skill at all. Does it ever become an interesting choice with a speaking puppet to intentionally or accidentally not lypsinch well? How can such choices within the limits and expanse of what the form of puppetry has to offer contribute to meaning, interpretation and overall theatrical experience? This is the direction I'm thinking. Thanks. Claudia ------------------------------ _______________________________________________ List address: puptcrit-AT-lists.driftline.org Admin interface: http://lists.driftline.org/listinfo.cgi/puptcrit-driftline.org Archives: http://www.driftline.org End of puptcrit Digest, Vol 15, Issue 28 **************************************** _______________________________________________ List address: puptcrit-AT-lists.driftline.org Admin interface: http://lists.driftline.org/listinfo.cgi/puptcrit-driftline.org Archives: http://www.driftline.org
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