File puptcrit/puptcrit.0607, message 320


From: "Ken Berman" <dramatontheater-AT-hotmail.com>
To: puptcrit-AT-lists.driftline.org
Date: Mon, 31 Jul 2006 02:21:45 +0000
Subject: Re: [Puptcrit] Light Curtains without Velvet


Malgosia, please help me post this if it comes across with richtext 
problems, thank you.

Liz: Check out Berensteins in NYC, on 39th & 8th, in the heart of the fabric 
district. I just purchased 10 yards of triple-black velvet from them, also 
known as "dead black" by magicians, because it is supposedly the most 
"invisible" velvet available. It really is the most non-reflective velvet I 
have ever seen, especially if the nap is downward on the body.
Berensteins is a wholesale vendor, but they are really accomodating to the 
individual, and are the only fabric sellers I have found in NYC who have 
triple velvet.  This I discovered after much research - and after many false 
alarms with other stores (some say what they are showing you is triple 
velvet, but are not sure themselves, or not truthful).    Berenstein's 
pricing, being that they are wholesalers, is not set for individuals, so it 
is open to some negotiation when you walk in. The price was $12/yard, but it 
is cheaper still if you buy more.    Originally they were going to charge me 
$10/yd for 12 yards.   I am sure you can work an excellent deal with them, 
especially if you tell them you came up from Philadelphia to buy 
specifically from them because of a recommendation you received about them 
from another puppeteer, and if you want to purchase 40 yards.  Here is the 
link:
http://www.berensteintextiles.com/tripvel.html
Also, be aware that their location is inside a larger building on an upper 
floor - not a storefront, because there are several storefront businesses in 
a row who share their address, including other fabric stores who might 
casually lead you to believe they are Berensteins.  Call me if you plan to 
go, so I can help in any way.
Ken


Ken Berman
Dramaton Theater



----Original Message Follows----
From: "Marie Buga" <mbuga-AT-rpl.regina.sk.ca>
Reply-To: puptcrit-AT-lists.driftline.org
To: puptcrit-AT-lists.driftline.org
Subject: Re: [Puptcrit] Light Curtains without Velvet
Date: Sun, 30 Jul 2006 15:19:58 -0600 (CST)

 >  Excellent advice! Coming from long experience, I don't doubt, and
standing well back and looking at how things actually work or not . I
had thought of having our light proscenium painted black but you have
warned me off in the nick of time. Our back drop and side curtains are
a deeply napped black velvet and, I guess, the lights are just the
right distance from them. I agree with you as regards a masked
puppeteer but suggest the use of a lightweight, stretchy cap pulled
well down on the forehead (alright, it's the top half of a pair of old
tights, with the legs used to cover the arms) A black velvet glove
(lucky find; I bought 5 pairs) for handling props - like helping a
puppet drink from a wine glass. We perform for children (mostly) so you
are made instantly aware of any lapses in technique but the important
thing is the story. If the story is strong enough, the audience will
see what you indicate is there and whatever doesn't belong is
overlooked. If a puppeteer is partially visible (a tall puppeteer with
large luminous eyes who looms above the playboard, just have them
always  look at the puppet; they become invisible - a trick also used
by the witches in Philip Pulman's Golden Compass trilogy)

   I imagine that even cheap velvet (or velveteen) is better than
 > other fabrics.  However, there are other factors that affect the final
 > result;
 >
 >   - The further away the back curtain is, the less light it will receive.
 >
 > -  If there is a black floor (both puppet and puppeteer floor) the
 > back curtain will get less ambient light bouncing off the floor.
 >
 >   - If the lights are well controlled, with no spill, then there is
 > less ambient light.
 >
 >   - If there is a light colored proscenium opening, then the audience
 > will have a harder time seeing the black items on stage. I think this
 > is the most important trick to getting good results.
 >
 >   - Even if you don't have a velvet back curtain, having the
 > puppeteers in black will really help hide them.
 >
 >   - I think visible puppeteers are acceptable as long as you've
 > trained the audience to accept them, or staged your play so that the
 > puppeteer is understood to be a part of the production.  I think your
 > "Its Amazing" production was a good example of that.  The mistake
 > I've sometimes seen, is for a visible puppeteer to suddenly be used
 > part way into the production.
 >
 >   - For visible puppeteers to hide in the mind's eye, there needs to
 > be a clear indication to the audience when the puppeteer is not going
 > to do anything interesting.  Applause Unlimited's "Peter and the
 > Wolf" is a good example.  The puppeteer/actors were very vocal in the
 > beginning with the clown routine, but when they transitioned to
 > puppeteer, it was very clear, there wasn't any competition for the
 > audience's attention.
 >
 >   - One technique, which I like a lot, is a low proscenium that
 > sort-of hides the puppeteers face.  I think the first time I noticed
 > this technique was David Simpitch's, "Hans Christian Anderson."  He
 > was even in costume. But by being out of the main light and with his
 > face up in the clutter of the proscenium, he was not noticed.
 >
 >   - Personally, I've never liked the idea of a visible, but hooded
 > puppeteer.  I feel the hood actually attracts attention and convey's
 > bad feelings, since the only other place we see people hooded is for
 > execution or to commit crimes.
 >
 > Joe Dunfee  joe-AT-dunfee.com
 > Gordonville, Pennsylvania, U.S.A.
 >
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