File puptcrit/puptcrit.0705, message 134


From: "Alan Cook" <alangregorycook-AT-msn.com>
To: puptcrit-AT-lists.driftline.org
Date: Wed, 16 May 2007 16:12:16 GMT
Subject: [Puptcrit] Pupperty & Cartoon Aimation/ IS IT PUPPETRY?


A footnote::

For another project, this morning  I was looking through old L.A. Guild newsletters--the first one was Puppet Life for Sept./Oct. 1987.

Our Guild's Oct. 4th, 1987 meeting was in Fullerton, CA at Bob Jones' home. Bob spoke on "How to hold an audience using Walt Disney animation techniques". Then he performed his "Puppets with a Punch" marionette program which had opened the PofA Natioal Festval August 9th, 1987. After that we toured Bob's workshop and saw a few (RARE) 3-D figures of Disney characters which were used as reference by Disney artists.

The dimensional figures helped the cartoon animators to "see their characters and to depict them "in the round".

Charles ("Chris") Christodoro once made a marionette figure which could be POSED for Disney artists (NOT seen at our meeting) which also "helped the Disney animators create a sense of in-the-round in their flat drawings

Bob Jones was fully aware of the influence of puppetry on Disney artists and the influence of Disney on many puppeteers---especially with SNOW WHITE and PINOCCHIO.

Thanks to all who have participated in this lively discussion.

ALAN COOK


-----Original Message-----
From: puptcrit-request-AT-lists.driftline.org
Sent: Tuesday, May 15, 2007 9:17 PM
To: puptcrit-AT-lists.driftline.org
Subject: puptcrit Digest, Vol 31, Issue 17

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Today's Topics:

   1. Re: Singing to the choir (Andrew)
   2. Re: "IS IT PUPPETRY?" (Steve Abrams)
   3. Re: puptcrit Digest, Vol 31, Issue 16 (Charles Taylor)
   4. What is a puppet? (Dorlis Grubidge)
   5. Puppetry International call for papers: Mega Puppets! (John Bell)


----------------------------------------------------------------------

Message: 1
Date: Tue, 15 May 2007 19:25:41 -0400
From: Andrew <puppetvision-AT-gmail.com>
Subject: Re: [Puptcrit] Singing to the choir
To: puptcrit-AT-lists.driftline.org
Message-ID:
	<30657e0d0705151625h1daf6dbbtc48c6ee40e81b806-AT-mail.gmail.com>

I think Allan makes an excellent point (one which I hadn't thought of) about
puppets being "kinetic sculptures". I would personally remain reluctant to
call Jansen's free-roaming wind powered creatures technically puppetry,
merely because they aren't being manipulated by a performer which to me is
the essence of puppetry.

By the same token, I think of stop motion as more animation than puppetry
simply because animation is generally (although not universally) regarded as
creating movement frame by frame in time-based media, whereas puppetry is
generally (although, again, not universally) considered to be more about
manipulation and movement in real-time.

That being said, I suppose these types of distinctions really are a matter
of semantics. Puppetry, animation, mask, etc. are all branches of the same
tree and are more alike than they are different and are most interesting
when they are mashed up together.

Great discussion!

- Andrew

-- 
The PuppetVision Blog
"The web's best source for puppet film and video goodness, delivered fresh
to your computer each day."
http://puppetvision.blogspot.com


------------------------------

Message: 2
Date: Tue, 15 May 2007 22:10:39 -0400
From: "Steve Abrams" <sapuppets-AT-gmail.com>
Subject: Re: [Puptcrit] "IS IT PUPPETRY?"
To: puptcrit-AT-lists.driftline.org
Message-ID:
	<93f64b620705151910o70e7d9f6r7c19cbffb64fedc4-AT-mail.gmail.com>

This is a fine discussion and I especially enjoyed Alan's comments.
It just occurred to me that another way of looking at kinetic sculpture is
that they are very large toys made by adults. Some museums list puppets as
"toys" and although the label is irritating, from a certain point of view it
is not entirely incorrect.
Artists get to work and play at the same time.  The clearly playful aspect
of our work leads some to the conclusion that we are not working at all.
Ken Feit, who has been mentioned here several times, liked to invent words.
He sometimes referred to the artist's play/work as "plurk"

I tend to agree with Alan that it is good to gather  the widest possible
array of creative efforts under the banner of puppetry.

I think is is natural to try to process information by putting it into
categories. I guess our brains are wired to do that-but there seems to be
strong impulse in the opposite direction too.
Some artists (not all)  tend to defy boundaries. As much as any of us tries
to put things into neat categories-be assured that some artists will keep
thinking up  new forms that just wont behave and fit clearly into the time
honored boxes.
As we look and are amazed by the kinetic wind sculpture (toy? puppet?
thingamajig?) we realize that we have to once again "toy" with our
categories, perhaps redraw a boundary? perhaps invent a new word? or maybe
just smile with delight and let someone else figure it out
Steve

On 5/15/07, Mathieu Ren? <creaturiste-AT-magma.ca> wrote:
>
> I really enjoyed alan's post about wha is Puppetry.
>
> To me it shows a kind of poissibly-all-encompassing open-mindedness that,
> instead of blocking one's perceptions into blinds and boxes, actually
> enables one to learn and grow.
>
> What's wrong with a banana peel and a hammer being categorised into the
> same
> species, during the time of a puppet show?
>
> This coming from me, the guy who refused to see a specific show performed
> with everyday objects that claimed to be puppetry (I hated that concept,
> being so charmed by actual puppets), and then changing my mind completely
> when the show seduced me within ten minutes!
>
> Ever since then I try to keep an open mind for possibilities, for
> exceptions, for expansion capabilities.
> After all, being proven wrong can prove to be much better than being
> right.
>
>
> Sorry if I got lost in my weird examples. I just finished reading a
> wonderful Sci-Fi novel by Frederick Pohl (Gateway) in one sitting, and the
> philosophical and existential mood is still in effect.
>
>
>
>
>
>
>
> ----- Original Message -----
> From: "Greg Ballora" <gregballora-AT-sbcglobal.net>
> To: <puptcrit-AT-lists.driftline.org>
> Sent: Tuesday, May 15, 2007 1:54 AM
> Subject: Re: [Puptcrit] "IS IT PUPPETRY?"
>
>
> >I am glad someone responded to my rant. It wasn't meant to kill
> > discussion, but to further it.  As one of the Choir members, I can feel
> > Brother Alan's eye on me in the loft. I think Alan and I are pretty
> > much in accord, except for semantics, but maybe not.
> > On May 14, 2007, at 12:31 AM, Alan Cook wrote:
> >
> >> The wrong question was asked.
> >>
> >> The wind-operated sculptures are described as KINETIC SCULPTURES which
> >> also could be considered MOBILES. The question should be "how do these
> >> works relate to standard forms of puppets?"
> >>
> >> The answer: all are mobile sculptures or kinetic sculptures. Alexander
> >> Calder's table-top puppet circus was also a good example of mobile
> >> sculpture
> >
> > Yep, I'm with you here, and I like the reminder of describing puppetry
> > as Kinetic sculpture. A really good description of a lot of Michael
> > Curry's work to me.
> >
> >> Rather than worry if recognition of puppetry's connections with other
> >> art forms is necessary for the increased public respect for puppetry,
> >> I think it is more productive to point out to the public that puppetry
> >> Is a kinetic ART form and related to OTHER kinetic sculptures. Mask
> >> performance can be a close relative of puppetry. Many personal
> >> puppetry friends collected masks because they saw the connection too
> > If this is in response to what I wrote, I agree with you that Mask
> > performance can be a very closely related art form, and the two
> > disciplines can learn a lot from each other. Blurring the lines between
> > the two can make for good theater. At the same time, it is useful to
> > keep the terms distinct, or the language gets confusing.
> >>
> >> Why does puppetry need to toot its own horn? Because the public at
> >> large is too damned ignorant about the wide spectrum
> >> of its artistry.
> >
> > I don't think anyone is going to argue with that, I think I was just
> > saying "Let's toot the puppetry horn over puppetry".
> >> As for stop motion PUPPETS, which ARE DESIGNED TO MOVE IN PERFORMANCE,
> >> I have always included stop-motion in my definition of puppetry. As
> >> for "performance in real time" stop-motion qualifies---the real time
> >> is simply slow-motion real time.
> >>
> >> You can consider the space time continuum
> >> a philosophical, a scientific or an artistic problem---it is up to you.
> >
> > On a practical level, this is kind of sketchy to me, but I like it on a
> > poetic level.
> >> In regard to stop-motion puppets, the concept behind the form is a
> >> PUPPETRY CONCEPT. I speak as one who has worked in stop-motion,
> >> marionettes, rod puppets, shadow puppets & hand puppets. I see no need
> >> to limit recognition of obvious connections.
> >>
> >> George Pal called his stop-motion films PUPPEToons. Prominent Los
> >> Angeles puppeteer Bob Baker and Don Sahlin (Muppet builder, assistant
> >> to Burr Tillstrom, who also puppeteered with a host of distinguished
> >> puppeteers---both these guys did excellent stop-motion PUPPETRY.  Ray
> >> Peck began as an actor in NYC, worked with Sue Hastings MARIONETTES in
> >> NYC, and did stop-motion puppetry with Art Clokey's 'Davey & Goliath"
> >> TV series. It is all PUPPETRY.
> >>
> > While all this is true, I am still not entirely convinced. Ray Peck
> > started as an Actor, and all that acting experience went into his
> > puppetry. I am sure you could find far more instances of Actors that
> > were puppeteers also, but you wouldn't collapse those two forms. How
> > many puppeteers are also dancers? Many of those "puppetry concepts" are
> > also actor concepts and painter concepts, with some varying technique
> > thrown in. They are as you say, related forms. I haven't done any
> > stop-motion animation since college, so I am not the authority that you
> > are Alan, but I recall feeling like there were many techniques and
> > skills that were specific to that form, So many that it seems to call
> > for it's own description.
> >
> > Of course, no matter what we call it, Puppetry and Animation are what
> > they are, where one draws the line is semantic. Calling them
> > "Puppetoons" doesn't make them any more or less puppets, but it is
> > great name. I just think it is clearer, and serves both performances
> > better to give them separate names. That is just me, so this is not an
> > argument I need to win.
> >> Sometimes it is necessary to preach to the choir
> >> ALAN COOK
> >>
> > I think we are all happy and grateful that you do. Keep it up!
> >> _______________________________________________
> >> List address: puptcrit-AT-lists.driftline.org
> >> Admin interface:
> >> http://lists.driftline.org/listinfo.cgi/puptcrit-driftline.org
> >> Archives: http://www.driftline.org
> >>
> >
> > _______________________________________________
> > List address: puptcrit-AT-lists.driftline.org
> > Admin interface:
> > http://lists.driftline.org/listinfo.cgi/puptcrit-driftline.org
> > Archives: http://www.driftline.org
>
> _______________________________________________
> 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: Tue, 15 May 2007 21:38:00 -0500 (CDT)
From: Charles Taylor <cecetaylor-AT-verizon.net>
Subject: Re: [Puptcrit] puptcrit Digest, Vol 31, Issue 16
To: puptcrit-AT-lists.driftline.org
Message-ID:
	<15614669.3311581179283081024.JavaMail.root-AT-vms070.mailsrvcs.net>

Alan, here is a question from Elaine Taylor.

How do dolls fit in with your connection of kinetic sculpture with puppets? We 
have been debating this subject for nearly twenty years. Elaine feels that 
dolls are another form of puppetry. You move them around with your hands, you 
tell a story or they doll holder creates a story in her imagination and is 
performed by the doll for the holder of that doll.  The doll holder may create 
a setting, costuming, various manipulations, sound effects, in other words it 
is a performance . . . even if only the doll holder is a one person audience. 
Sometimes there may be a larger audience of two or more.  This Elaine says is 
intimate theater.  The right puppet and the right puppeteer could be really 
intimate puppet theater.  Elaine thinks that people who use/play with dolls 
are actually doing a form of puppetry.

What say you, Alan?  Charles. 





>From: puptcrit-request-AT-lists.driftline.org
>Date: 2007/05/15 Tue PM 05:40:37 CDT
>To: puptcrit-AT-lists.driftline.org
>Subject: puptcrit Digest, Vol 31, Issue 16

>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: "IS IT PUPPETRY?" (Greg Ballora)
>   2. Re: "IS IT PUPPETRY?" (Mathieu Ren?)
>   3. Re: puptcrit Digest, Vol 31,	Issue 15: Alan Cook - singing to
>      the choir (Tina Farmilo)
>
>
>----------------------------------------------------------------------
>
>Message: 1
>Date: Mon, 14 May 2007 22:54:10 -0700
>From: Greg Ballora <gregballora-AT-sbcglobal.net>
>Subject: Re: [Puptcrit] "IS IT PUPPETRY?"
>To: puptcrit-AT-lists.driftline.org
>Message-ID: <c244be2079aabcf73a2739be89d0f03e-AT-sbcglobal.net>
>Content-Type: text/plain; charset=US-ASCII; format=flowed
>
>I am glad someone responded to my rant. It wasn't meant to kill 
>discussion, but to further it.  As one of the Choir members, I can feel 
>Brother Alan's eye on me in the loft. I think Alan and I are pretty 
>much in accord, except for semantics, but maybe not.
>On May 14, 2007, at 12:31 AM, Alan Cook wrote:
>
>> The wrong question was asked.
>>
>> The wind-operated sculptures are described as KINETIC SCULPTURES which 
>> also could be considered MOBILES. The question should be "how do these 
>> works relate to standard forms of puppets?"
>>
>> The answer: all are mobile sculptures or kinetic sculptures. Alexander 
>> Calder's table-top puppet circus was also a good example of mobile 
>> sculpture
>
>Yep, I'm with you here, and I like the reminder of describing puppetry 
>as Kinetic sculpture. A really good description of a lot of Michael 
>Curry's work to me.
>
>> Rather than worry if recognition of puppetry's connections with other 
>> art forms is necessary for the increased public respect for puppetry, 
>> I think it is more productive to point out to the public that puppetry 
>> Is a kinetic ART form and related to OTHER kinetic sculptures. Mask 
>> performance can be a close relative of puppetry. Many personal 
>> puppetry friends collected masks because they saw the connection too.
>If this is in response to what I wrote, I agree with you that Mask 
>performance can be a very closely related art form, and the two 
>disciplines can learn a lot from each other. Blurring the lines between 
>the two can make for good theater. At the same time, it is useful to 
>keep the terms distinct, or the language gets confusing.
>>
>> Why does puppetry need to toot its own horn? Because the public at 
>> large is too damned ignorant about the wide spectrum
>> of its artistry.
>
>I don't think anyone is going to argue with that, I think I was just 
>saying "Let's toot the puppetry horn over puppetry".
>> As for stop motion PUPPETS, which ARE DESIGNED TO MOVE IN PERFORMANCE, 
>> I have always included stop-motion in my definition of puppetry. As 
>> for "performance in real time" stop-motion qualifies---the real time 
>> is simply slow-motion real time.
>>
>> You can consider the space time continuum
>> a philosophical, a scientific or an artistic problem---it is up to you
>
>On a practical level, this is kind of sketchy to me, but I like it on a 
>poetic level.
>> In regard to stop-motion puppets, the concept behind the form is a 
>> PUPPETRY CONCEPT. I speak as one who has worked in stop-motion, 
>> marionettes, rod puppets, shadow puppets & hand puppets. I see no need 
>> to limit recognition of obvious connections.
>>
>> George Pal called his stop-motion films PUPPEToons. Prominent Los 
>> Angeles puppeteer Bob Baker and Don Sahlin (Muppet builder, assistant 
>> to Burr Tillstrom, who also puppeteered with a host of distinguished 
>> puppeteers---both these guys did excellent stop-motion PUPPETRY.  Ray 
>> Peck began as an actor in NYC, worked with Sue Hastings MARIONETTES in 
>> NYC, and did stop-motion puppetry with Art Clokey's 'Davey & Goliath" 
>> TV series. It is all PUPPETRY.
>>
>While all this is true, I am still not entirely convinced. Ray Peck 
>started as an Actor, and all that acting experience went into his 
>puppetry. I am sure you could find far more instances of Actors that 
>were puppeteers also, but you wouldn't collapse those two forms. How 
>many puppeteers are also dancers? Many of those "puppetry concepts" are 
>also actor concepts and painter concepts, with some varying technique 
>thrown in. They are as you say, related forms. I haven't done any 
>stop-motion animation since college, so I am not the authority that you 
>are Alan, but I recall feeling like there were many techniques and 
>skills that were specific to that form, So many that it seems to call 
>for it's own description.
>
>Of course, no matter what we call it, Puppetry and Animation are what 
>they are, where one draws the line is semantic. Calling them 
>"Puppetoons" doesn't make them any more or less puppets, but it is 
>great name. I just think it is clearer, and serves both performances 
>better to give them separate names. That is just me, so this is not an 
>argument I need to win.
>> Sometimes it is necessary to preach to the choir
>> ALAN COOK
>>
>I think we are all happy and grateful that you do. Keep it up!
>> _______________________________________________
>> List address: puptcrit-AT-lists.driftline.org
>> Admin interface: 
>> http://lists.driftline.org/listinfo.cgi/puptcrit-driftline.org
>> Archives: http://www.driftline.org
>>
>
>
>
>------------------------------
>
>Message: 2
>Date: Tue, 15 May 2007 04:44:18 -0400
>From: Mathieu Ren? <creaturiste-AT-magma.ca>
>Subject: Re: [Puptcrit] "IS IT PUPPETRY?"
>To: <puptcrit-AT-lists.driftline.org>
>Message-ID: <000501c796cd$3a585cc0$4f1b70cf-AT-critter1>
>Content-Type: text/plain; format=flowed; charset="iso-8859-1";
>	reply-type=original
>
>I really enjoyed alan's post about wha is Puppetry.
>
>To me it shows a kind of poissibly-all-encompassing open-mindedness that, 
>instead of blocking one's perceptions into blinds and boxes, actually 
>enables one to learn and grow.
>
>What's wrong with a banana peel and a hammer being categorised into the same 
>species, during the time of a puppet show?
>
>This coming from me, the guy who refused to see a specific show performed 
>with everyday objects that claimed to be puppetry (I hated that concept, 
>being so charmed by actual puppets), and then changing my mind completely 
>when the show seduced me within ten minutes!
>
>Ever since then I try to keep an open mind for possibilities, for 
>exceptions, for expansion capabilities.
>After all, being proven wrong can prove to be much better than being right.
>
>
>Sorry if I got lost in my weird examples. I just finished reading a 
>wonderful Sci-Fi novel by Frederick Pohl (Gateway) in one sitting, and the 
>philosophical and existential mood is still in effect.
>
>
>
>
>
>
>
>----- Original Message ----- 
>From: "Greg Ballora" <gregballora-AT-sbcglobal.net>
>To: <puptcrit-AT-lists.driftline.org>
>Sent: Tuesday, May 15, 2007 1:54 AM
>Subject: Re: [Puptcrit] "IS IT PUPPETRY?"
>
>
>>I am glad someone responded to my rant. It wasn't meant to kill
>> discussion, but to further it.  As one of the Choir members, I can feel
>> Brother Alan's eye on me in the loft. I think Alan and I are pretty
>> much in accord, except for semantics, but maybe not.
>> On May 14, 2007, at 12:31 AM, Alan Cook wrote:
>>
>>> The wrong question was asked.
>>>
>>> The wind-operated sculptures are described as KINETIC SCULPTURES which
>>> also could be considered MOBILES. The question should be "how do these
>>> works relate to standard forms of puppets?"
>>>
>>> The answer: all are mobile sculptures or kinetic sculptures. Alexander
>>> Calder's table-top puppet circus was also a good example of mobile
>>> sculpture
>>
>> Yep, I'm with you here, and I like the reminder of describing puppetry
>> as Kinetic sculpture. A really good description of a lot of Michael
>> Curry's work to me.
>>
>>> Rather than worry if recognition of puppetry's connections with other
>>> art forms is necessary for the increased public respect for puppetry,
>>> I think it is more productive to point out to the public that puppetry
>>> Is a kinetic ART form and related to OTHER kinetic sculptures. Mask
>>> performance can be a close relative of puppetry. Many personal
>>> puppetry friends collected masks because they saw the connection too.
>> If this is in response to what I wrote, I agree with you that Mask
>> performance can be a very closely related art form, and the two
>> disciplines can learn a lot from each other. Blurring the lines between
>> the two can make for good theater. At the same time, it is useful to
>> keep the terms distinct, or the language gets confusing.
>>>
>>> Why does puppetry need to toot its own horn? Because the public at
>>> large is too damned ignorant about the wide spectrum
>>> of its artistry.
>>
>> I don't think anyone is going to argue with that, I think I was just
>> saying "Let's toot the puppetry horn over puppetry".
>>> As for stop motion PUPPETS, which ARE DESIGNED TO MOVE IN PERFORMANCE,
>>> I have always included stop-motion in my definition of puppetry. As
>>> for "performance in real time" stop-motion qualifies---the real time
>>> is simply slow-motion real time.
>>>
>>> You can consider the space time continuum
>>> a philosophical, a scientific or an artistic problem---it is up to you.
>>
>> On a practical level, this is kind of sketchy to me, but I like it on a
>> poetic level.
>>> In regard to stop-motion puppets, the concept behind the form is a
>>> PUPPETRY CONCEPT. I speak as one who has worked in stop-motion,
>>> marionettes, rod puppets, shadow puppets & hand puppets. I see no need
>>> to limit recognition of obvious connections.
>>>
>>> George Pal called his stop-motion films PUPPEToons. Prominent Los
>>> Angeles puppeteer Bob Baker and Don Sahlin (Muppet builder, assistant
>>> to Burr Tillstrom, who also puppeteered with a host of distinguished
>>> puppeteers---both these guys did excellent stop-motion PUPPETRY.  Ray
>>> Peck began as an actor in NYC, worked with Sue Hastings MARIONETTES in
>>> NYC, and did stop-motion puppetry with Art Clokey's 'Davey & Goliath"
>>> TV series. It is all PUPPETRY.
>>>
>> While all this is true, I am still not entirely convinced. Ray Peck
>> started as an Actor, and all that acting experience went into his
>> puppetry. I am sure you could find far more instances of Actors that
>> were puppeteers also, but you wouldn't collapse those two forms. How
>> many puppeteers are also dancers? Many of those "puppetry concepts" are
>> also actor concepts and painter concepts, with some varying technique
>> thrown in. They are as you say, related forms. I haven't done any
>> stop-motion animation since college, so I am not the authority that you
>> are Alan, but I recall feeling like there were many techniques and
>> skills that were specific to that form, So many that it seems to call
>> for it's own description.
>>
>> Of course, no matter what we call it, Puppetry and Animation are what
>> they are, where one draws the line is semantic. Calling them
>> "Puppetoons" doesn't make them any more or less puppets, but it is
>> great name. I just think it is clearer, and serves both performances
>> better to give them separate names. That is just me, so this is not an
>> argument I need to win.
>>> Sometimes it is necessary to preach to the choir
>>> ALAN COOK
>>>
>> I think we are all happy and grateful that you do. Keep it up!
>>> _______________________________________________
>>> List address: puptcrit-AT-lists.driftline.org
>>> Admin interface:
>>> http://lists.driftline.org/listinfo.cgi/puptcrit-driftline.org
>>> Archives: http://www.driftline.org
>>>
>>
>> _______________________________________________
>> 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: Tue, 15 May 2007 15:24:06 -0700
>From: "Tina Farmilo" <CFAR-AT-gulfislands.com>
>Subject: Re: [Puptcrit] puptcrit Digest, Vol 31,	Issue 15: Alan Cook -
>	singing to the choir
>To: "'Alan Cook'" <alangregorycook-AT-msn.com>,
>	<puptcrit-AT-lists.driftline.org>
>Message-ID: <20070515222345.157661EF89D2-AT-mail2.imagen.ca>
>Content-Type: text/plain;	charset="us-ascii"
>
>Thanks very much Alan, for your excellent rant in the last puptcrit digest
>[vol. 31 issue 15]. I relish these occasional revelations of the driving
>passions that underlie a fellow artist's engagement with puppets and other
>forms of embodied story telling. 
>
> 
>
>Puppetry is  an interdisciplinary art-form. Definitions are interesting and
>boundaries necessary but we also have the advantage of enormous freedom to
>explore and find inspiration in many creative practises. 
>
> 
>
>Cheers,
>
>Tina
>
> 
>
>
>
>------------------------------
>
>_______________________________________________
>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 31, Issue 16
>****************************************



------------------------------

Message: 4
Date: Tue, 15 May 2007 21:56:24 -0500
From: Dorlis Grubidge <dordan-AT-northnet.net>
Subject: [Puptcrit] What is a puppet?
To: puptcrit-AT-lists.driftline.org
Message-ID: <464A72D8.9050402-AT-northnet.net>

I don't think it makes any difference what the "object" is --spoon, 
doll, jointed figure, etc. -- but what  the intent the manipulator is -- 
to put on a performance for an audience.  I also think the giant wind 
constructions are like whirly gigs -- just objects.

Dorlis Grubidge



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Message: 5
Date: Wed, 16 May 2007 00:15:34 -0400
From: "John Bell" <John_Bell-AT-emerson.edu>
Subject: [Puptcrit] Puppetry International call for papers: Mega
	Puppets!
To: <puptcrit-AT-lists.driftline.org>
Message-ID:
	<20EBF4F2D8307E4EAF71464CBE005594018B3B16-AT-HAIL.emerson.edu>

Call for Papers:

 

Puppetry International magazine seeks articles for the peer-reviewed section of our upcoming issue #22, whose theme is Mega-Puppets.  We are looking for brief essays (2,000 words, including notes and bibliography) about larger-than-life puppets and performing objects: parade figures, gigantes, and related traditions such as Burning Man; giant performing machines as created by such groups as Survival Research Laboratories; and giant puppet spectacles such as those presented by Royale de Luxe. We are interested in articles that address such topics as the following:  What are the performance effects of mixing giant figures and humans?  What special issues are germane to the design and manipulation of larger-than-life puppets?  How do such puppets affect change in a community through parades, pageantry, and other ritual events?  What are new movements and innovations in the world of giant puppets -- including technology?  We also seek interviews with (or profiles of) contemporary artists outside the traditional scope of puppetry using puppetry techniques in large-scale creations.  Articles for the peer-reviewed section of Puppetry International should demonstrate scholarly research and analysis, but also appeal to PI's wide audience.

 

Puppetry International is the bi-annual publication of UNIMA-USA, the United States chapter of the Union Internationale de la Marionette, the world's oldest theater organization. Each issue explores a theme, and recent issues have addressed puppetry's relationships to text, dance, opera, spirituality, sexuality, and propaganda.  We have initiated a peer-reviewed section of the magazine in order to encourage more scholarly writing about puppets and related performance forms.

 

Contributors will receive a copy of the magazine and may retain the copyright to their work; minor publication expenses can be covered as well. Use of images is encouraged. Submissions should be in MLA format, and no longer than 10 double-spaced pages. 

 

Submission deadline:  July 5, 2007.  Please send essays as Microsoft Word attachments in RTF format to John Bell (john.bell.puppeteer-AT-gmail.com) and to Andrew Periale (ab2periale-AT-metrocast.net).  Include contact information and a brief biography with your submission.  

 

Please contact John Bell if you may have questions.  For further information on Puppetry International see www.unima-usa.org/publications/index.html.

 


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End of puptcrit Digest, Vol 31, Issue 17
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