Boo's Puppetry ♥

Pictures of Ichneumon fly

2010-03-01T01:11:00.000-08:00

Visuals

2010-01-21T21:58:00.000-08:00

For Forest:

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For Ich. fly:

Visuals for Tramp

2010-01-21T06:34:00.000-08:00

OH BTW, I LOVE AUDREY KAWASAKI though some of her art pieces are quite... erotic.
Some pieces of art that fits my play:

I like how the faces appear to be so melancholic. It says a lot, somehow.

Philippe Genty

2009-11-22T21:02:00.000-08:00

All comments subject to approval. Beautiful performance from Paul Daniels magic show.A puppet casts off his own strings not realising its all that makes him real.French puppeteer Philippe Genty " In "Pierrot" a marionette determines to liberate himself from the strings that control him. With freedom comes collapse"

3 min trailer for Ruby TV Paris interview with Australian performer and master puppeteer, Simon T. Rann.

Shot in Paris at the Porte St Lila, the Theatre de la Porte St Martin. Cie Philippe Genty tours Australia Aug- Sep 08.

Philippe Genty "Puppet Theater" Gag

Unraku

2009-11-20T21:54:00.000-08:00

Acrobatic feats of daring-do performed by Unraku's highly trained team of chick rod puppets. Recorded live July 19, 2008.

First public workshop/performance piece by Unraku, a puppetry collective that has grown out of a series of tabletop puppetry workshops in Toronto. Recorded live March 14, 2008

Their website: http://unraku.ca/

This blog somehow has a link to puppets from Unraku too: http://knoggin.blogspot.com/

Their Facebook account: http://www.facebook.com/unraku?_fb_noscript=1&v=wall

Dramaton: The Painted Rose

2009-11-20T21:26:00.000-08:00

"The Painted Rose," is an original rod-puppet opera using life-size rod puppets in a wordless drama about a painter teetering between passion and reality.

The painter does not allow himself to admit the love he holds for Rose, his teacher's daughter. His mounting and stifled desire eventually gives life to a spirit borne from the student's paintings. This embodiment of the unfulfilled captures Rose and returns to the canvas with her, leaving the painter at a crossroads of reality and imagination...and the choice to realize his love or let it slip away.

"The Painted Rose: A Puppet Opera" is inspired by a ghost story, "Schalken the Painter", written by JS LeFanu in 1830. The performance creates a surreal world without gravity, inhabited by articulate three foot high rod puppets adorned in flowing silk costumes, operated by shrouded puppeteers and accentuated by handheld fans. The story is conveyed through wordless action, accentuated by a female operatic voice coloring the story with emotional tones and accompanied by an original avant-garde score.

Done by this puppetry theatre: http://www.dramaton.org/index.html

Their youtube channel: http://www.youtube.com/Dramaton

Their Myspace account: http://www.myspace.com/dramatontheater

Moving on

2009-11-20T21:24:00.001-08:00

My promos are over! DS was sucha failure. Rofl. However, I still am holding this interest for puppets~! So, I've decided to use PUPPETRY as my IS skill for A-levels. Stunning??? HEHEHE. Anyway, from today onwards, I'll be viewing youtube to get my inspirations! Yup. So videos will be coming in all the time man! :D:D

Dinky & the Dragon

2009-08-31T07:05:00.000-07:00

This is very cute!!! Inspiring. Heh.
"Dinky and the Dragon" :D

Gamelan

2009-08-29T09:10:00.000-07:00

From: http://en.wikipedia.org/wiki/Gamelan

A gamelan is a musical ensemble from Indonesia, typically from the islands of Bali or Java, featuring a variety of instruments such as metallophones, xylophones, drums and gongs; bamboo flutes, bowed and plucked strings. Vocalists may also be included.

The term refers more to the set of instruments than to the players of those instruments. A gamelan is a set of instruments as a distinct entity, built and tuned to stay together — instruments from different gamelan are generally not interchangeable.

The word "gamelan" comes from the Javanese word "gamel", meaning to strike or hammer, and the suffix "an", which makes the root a collective noun. Real hammers are not used to play these instruments as heavy iron hammers would break the delicate instruments.

IMPORTANT NOTE!!! :
In Indonesia, gamelan usually accompanies dance wayang puppet performances, or rituals or ceremonies. Typically players in the gamelan will be familiar with dance moves and poetry, while dancers are able to play in the ensemble. In wayang, the dalang (puppeteer) must have a thorough knowledge of gamelan, as he gives the cues for the music. Gamelan can be performed by itself — in "klenengan" style, or for radio broadcasts — but concerts in the Western style are not traditional.

From: http://www.seasite.niu.edu/Indonesian/Budaya_Bangsa/Gamelan/Main_Page/main_page.htm

Gamelan is a way of linking individuals in social groups. Gamelan music is performed as a group effort, and so there is no place for an individual showoff. Traditionally, gamelan is only played at certain occasions such as ritual ceremonies, special community celebrations, shadow puppet shows, and for the royal family. Gamelan is also used to accompany dances in court, temple, and village rituals. Besides providing music for social functional ceremonies, gamelan also provides a livelihood for many professional musicians, and for specialized craftsmen who manufacture gamelan.

Today, although gamelan music is still used for ritual ceremonies and the royal family, it is also performed as concert music at social and cultural gatherings to welcome guests and audiences. Gamelan is also used to accompany many kinds of both traditional and modern dances, drama, theatrical and puppetry. In modern days, gamelan can be kept in places such as courts, temples, museums, schools, or even private homes.

Gamelan

SCRIPT DRAFT #1 !!!

2009-08-29T07:18:00.000-07:00

SCRIPT: The Legend
Scene 1
[Shadow puppets]
Narrator: Once upon a time, in a small island called Singapura, there lived a quick-tempered king named Paduka Sri Maharaja. He was a Raja that people feared of as he often abuses his power. Those who fell into his bad books were severely punished, often unjustly.
Narrator: Soon after, a magician from Pasai came to Singapura, along with his two friends. Having heard so much about the island, he was eager to explore it.

Scene 2
[Scene B: Half village, half palace]
[Magician walks in, looking around]

Narrator: As he was exploring around the area, something caught his eye!

[Magician stops beside palace, saw the queen]

Narrator: It was the Queen! She happened to look out of the window just as the magician was passing by.

Magician: Whoa, what a beauty! Well well, I shall show her some magic tricks!

Narrator: With that, the Magician turned around to the palm tree behind him. He swung his hands around and a bolt of lightning struck the palm tree, neatly splitting it into two!

Queen: Oh my! Look at the tree! It just…

Narrator: The Queen was so amazed that she became speechless. Just then, the Raja came along.

[Lights focus on King and Queen, lights off at Magician]

King: I thought I heard some noise in here. Anything happened?

Queen: Oh look! Look at the palm trees! The man over there turned it into two! Isn’t it amusing?

King: Hmmm. Alright, I can see that My Lady is pretty delighted to see that man. Who is this man and what is he to you?!

Queen: No, King! He’s just a traveler! He is ignorant of our ways! Please, do not concern yourself over such a trivial matter!

[Shadow puppet]

Narrator: But it was no use. The jealous Raja ignored the Queen’s pleads. He immediately ordered the arrest and execution of the helpless
magician.

Scene 3

[Scene D: Half village, half execution scene]

Narrator: At the place of execution, all the villagers were there to witness another unjust event of the Raja.

[Magician on floor, Executioner preparing to chop]

Narrator: Just as the Executioner laid his hands on the Magician,

[Lights off, immediately shadow puppet]

Narrator: the Magician’s blood spilled onto the ground and his body vanished! The villagers were shocked. No one could explain this strange
occurrence.

Scene 4

[Scene A: Palace]

Narrator: Some time later, the island was plagued by an unusual phenomenon…

Servant: Your Majesty, your majesty! The swordfish attacks are scaring all the villagers!

King: What do you mean?! How can swordfishes terrorize an entire village? That’s absurd!

Servant: The swordfishes attacked people on the shore, piercing them with their sharp snouts! The villagers were so frightened that no one
went out to sea this morning!

King: This is ridiculous! Those fishermen must be spreading rumors so that they won’t have to work! I’ll put a stop to this nonsense!

[Shadow puppet]

Narrator: The King was furious! But the villagers were not exaggerating. Along the shore, there was chaos as the unusually high tides brought the swordfishes farther inland.

Servant: Your Majesty, your majesty!

King: What is it this time?!

Servant: The swordfish attacks are getting worst! The villagers plead for immediate action to be taken place! Your Majesty, please!

Scene 5

[Scene C: Village]
[Shadow puppet]

Narrator: The situation was becoming desperate! Yet the Raja was still unconvinced. He decided to take a trip to the village. When he reached
there, he saw hundreds of villagers lay dead on the shore.

King: Move closer.

[Elephant moves closer. Servant got attacked]

[Swordfish attacks King, tore a piece of his garments]

King: Ah! Men! Men!

[Voices of ‘Raja! Raja!’ can be heard]

King: This is an extremely dangerous situation. The villagers must be protected at all costs! Guards, we must prevent the fish from venturing
farther inland! Form a human barricade along the shore now!

[Shadow puppet]

Narrator: The men obeyed but suffered terribly as the swordfishes attacked them nevertheless! Soon, many were dead…

King: This cannot go on! We need a better solution! But it will take some time. Villagers, I need all of you to stay in your house and do not
go near the shore.

[Shadow puppet]

Narrator: The villagers heeded and no one dared to go near the shore. In the meantime, the Raja racked his brains for a solution. He strolled
along the beach, desperate for answers. Suddenly…

[Boy comes in]

Boy: Your majesty! I know how to deal with this problem!

King: Oh hoho, really? (stoops down) Well then, let’s hear your idea, little boy.

Boy: We could make a barricade using banana stems! When the fish attack, their snouts will get stuck on the stems! Then, your men can go into
the waters and kill them!

King: Hmmm, sounds like a great idea! It may just work. Men! Hurry!

[Shadow puppet]

King: Chop down as many banana trees as you can find! Line their trunks along the shore!

Narrator: His men did just so and soon…

[Swordfishes got their snouts stuck to the trunks]

Villagers: Hurray! Hurray! All hail the boy! Hurray!

Narrator: The little boy became an instant celebrity. Everyone praise him and give him tokens of appreciation. However, never did they know
that the Raja was becoming jealous of the boy’s popularity.

[Lights focus on Raja]

Scene 6

[Scene A: Palace]

Narrator: That night, he called a secret meeting of his most trusted guards.

King: The boy is too smart for his own good. He might grow into a powerful wizard and destroy us one day! I want you to… [King goes closer to 3 men]

Men A: You mean…

Men B: You want us to…

Men C: Kill the boy…?

[King nods]

Narrator: The 3 men couldn’t believe their ears! The Raja displayed a look of sadness and patriotic concern as he cannot afford letting his
men find out his hidden motive or else he would surely be ousted from his position.

Scene 7

[Scene E: Boy’s house]

[Shadow puppet]

Narrator: Under the cover of darkness, the 3 men made their way to the boy’s little hut even though they were deeply troubled.

[3 men violently opens door]

Boy: Ah! Who are you! What’s happening?!

Grandmother: Oh my… Who are these people? What are you guys trying to do?!

[Man A grabs Granny, Man B grabs Boy in front of Man C]

Man C: We are deeply sorry.

[Shadow puppet]

Boy: Ah!!!

Narrator: The walls of the hut were covered with blood and soon, the hill was covered with the little boy’s blood too… The next morning…

Scene 8

King: What do you mean the boy’s body couldn’t be found?! What about my men?!

Servant: I’m sorry Raja, it seems like none of them could be found either.

Narrator: The Raja was mystified by this strange incident. He walked into his balcony and it started raining. As he was pondering over the
incident, a bolt of lightning struck him!

King: Ah!!!

Narrator: The Raja lay lifelessly on the ground as his men surrounded him.

Servant: The Raja is dead!!! What should we do?

Narrator: His men were bewildered as the Raja was dead so suddenly. Soon, the news spread around the village. Many villagers believed that the
sudden death of the Raja was heaven’s punishment against the Raja’s rash decisions which led to his unjust actions.

Crit. Comm. Draft #1

2009-08-28T11:18:00.000-07:00

1. Directorial Vision / Concept

Directional Vision

“One should not make rash decisions or else he will suffer the consequences.” is the directorial vision that I want to educate the young with. The story that I had chosen is ‘The Legend of Bukit Merah’ with an ending that is different from what we were taught of. ‘The Legend of Bukit Merah’ is a local folktale that talks about Singapura’s fifth ruler – Parameswara and how Bukit Merah came about. In the story, he was seen as an unjust leader. My view of the story will be based upon the ruler and how his actions led to his befall. The ending will be tweaked in such a way that it corresponds to the directorial vision where Parameswara suffered the consequences.

The two skills that I had chosen are puppetry and sound design.

Puppetry

Puppetry is a traditional way of retelling myth and legend and also inculcating values into their audience. It is most appropriate a skill to use into my piece as I will like to use my piece to educate them with the values of the folktale. My second objective is to allow the younger generation to have an interesting view of the folktale and be able to remember one of the few legends of Singapore. By using western puppetry, the form of puppetry that most children are familiar with, it keeps the audience more focused with the story rather than the puppet form. Other forms of puppetry like Japanese Bunraku or Vietnamese water puppetry will let the audience be more interested in the way the story is presented, not the story itself. Therefore, it does not reach the directorial vision that I had. Hence, Western puppetry is used to enhance my piece instead of Southeast Asian ones.

Sound design

The sounds that I will be using are traditional Malay music that is played using instruments. It will be mainly Wayang Kulit music as it is the music used to accompany puppetry. Music is very important in the performance of the Wayang Kulit because it enhances the story by making it more interesting and entertaining. The wayang kulit orchestra usually consists of 12 instruments, the most important being the flute (serunai).

Effect of the combination of skills

By using a legendary tale of Singapore, it allows the audience to have a sense of familiarity with the piece. This allows them to be more opened with the ideas that are brought forward from the piece. The objective of allowing them to remember one of the few of the legends of Singapore will be fulfilled too. By enriching the piece with Malay folk music, the piece is more complete as it brings out the atmosphere of each scene. Especially for Wayang Kulit music, a music that is used for puppetry, it benefits the play such that the emotions for each scene is translated out well.

2. Performance Theory / History of Tradition

History of Puppetry

Puppetry is a form of theatre or performance which involves the manipulation of puppets. It is used in almost all human societies both as an entertainment – in performance – and ceremonially in rituals and celebrations such as carnivals. Puppets have been used since the earliest times to animate and communicate the ideas and needs of human societies. It has been used to relate myth and legend, enact simple traditional forces and use in education.

There are different types of puppets. Most types of puppet in use today fall in four broad categories – hand or glove puppets, rod puppets, marionettes and shadow puppets – but there is a variety of combination. The glove puppet is used like a glove on the operator’s hand and its structure is simple. These puppets, although limited in gesture to movement of one’s hand, are ideal for quick, robust action and can be most expressive. The live hand inside of the puppet gives it a unique flexibility of physique. The rod puppet is held and moved by rods, usually from below but sometimes from above. It varies in complexity and offer potential for creativity in design and presentation. Their range of swift and subtle movements enables them to deliver anything from sketches to large dramatic pieces. The marionette is a puppet on strings, suspended form a control held by the puppeteer. It is versatile and can be simple or complex. Performances can be graceful and charming, and fast and forceful action is generally avoided. Shadow puppets are normally flat cut-out figures held against a translucent, illuminated screen. It is ideally suited to the illustration of a narrated story but the can also handle direct dialogue and vigorous knock-about action.

I chose marionettes for the main characters of my piece as their actions are more graceful and elaborate. Small gestures are more amplified using the marionettes as their actions have more flow as compared to the rest. The illusion is also better than the rest as the puppeteer is not seen. Some characters are rod puppets as they have more forceful actions.

There are differences between Chinese marionettes and Western ones. In terms of construction, Chinese marionette has leaf-shaped string control while Western marionette has cross-shaped string control. In terms of stories, the Chinese puppet shows mainly adapt literature classics like Journey to the West and The Legend of Three Kingdoms. However, Western puppet shows have a greater variety. In terms of stage, the traditional Chinese stage is octagonal. The octagon is a divine symbol of Taoism. They were designed to entertain gods during festivals such as the deities’ birthdays. Thus, besides staging performances, puppeteers also conducted essential religious ceremonies required in these festivals. Incense, candles and other offerings were even placed on the puppet show stage. In contrast, Western marionettes do not require a stage unless it reflects the individuality of the puppeteer. One tradition in the Chinese puppet art — respecting the guardian deity, Xianggongye — is still preserved nowadays. This would cause an inconvenience for my play and hence, I chose Western marionettes over Chinese marionettes.

Bibliography

Summary of story:
http://en.wikipedia.org/wiki/Bukit_Merah and also,
http://ramblinglibrarian.blogspot.com/2005/03/legend-of-bukit-merah-or-how-redhill_01.html

Some Malay music instruments:
http://musicparadise.8m.com/malay_inst.htm

More about traditional Malay music:
http://www.etourz.com/malaysia/malay_dance.htm
http://www.asiarecipe.com/malmusic.html

History of puppetry:
http://en.wikipedia.org/wiki/Puppetry#Asia

Difference between types of puppet:
Puppets and Puppet theatre by David Currell

Difference between Chinese and Western marionettes: http://www.com.cuhk.edu.hk/varsity/0104/culture%20and%20leisure/puppet.htm

Annex:

1) Chinese puppet:

(http://farm1.static.flickr.com/5/7896105_faeeb2fe2d.jpg)

Difference btwn puppet styles

2009-08-22T10:11:00.000-07:00

From:
,

"Most types of puppet in use today fall into four broad categories - hand or glove puppets, rod puppets, marionettes and shadow puppets - but there is a variety of combinations. Among these are glove-rod, hand-rod, rod-hand and rod-marionette puppets. There is also a wide range of other related techniques, from masks to finger puppets, from toy theatre to animated puppet film."

"The glove puppet is used like a glove on the operator's hand; the term 'hand puppet' is sometimes used synonymously but here it describes figures where the whole hand is inserted into the puppet's head... These puppets those limited in gesture to the movement of one's hand, are ideal for QUICK, ROBUST ACTION and can be MOST EXPRESSIVE. The live hand inside the puppet gives it a unique FLEXIBILITY OF PHYSIQUE."

"The rod puppet is held and moved by rods, usually from below but sometimes from above; those in the Japanese Bunraku style require two or three operators, who hold the puppet in front of them. rod puppets vary in complexity,... their range of SWIFT AND SUBTLE MOVEMENTS enables them to deliver anything from sketches to large dramatic pieces."

"The marionette is a puppet on strings, suspended from a control held by the puppeteer. It is VERSATILE and can be simple or complex in both contrustion and control. Performances can be GRACEFUL and CHARMING, and FAST and FORCEFUL action is generally AVOIDED."

"Shadow puppets are normally flat cut-out figures held against a translucent, illuminated screen. The term is also... Shadow puppets are ideally suited to the illustration of a NARRATED STORY, but they can also handle DIRECT DIALOGUE and VIGOROUS KNOCK-ABOUT action."

Instructions for CC

2009-08-21T23:23:00.000-07:00

1. Directorial Vision / Concept (10 marks)
- A clear vision or concept underpinning their chosen skill or area of study, including full details of the script/working text in an annexe
- Outline the aims and objectives underlying the structure and intention of the devised piece

2. Performance Theory / History of Tradition (10 marks)
- A firm understanding of the historical and contextual knowledge of the tradition in which the performance is located, as well as knowledge of relevant performance theory
- Detailed evidence to be cited and sources included in a bibliography

3.Evaluation of creative process (10 marks)
- Evaluate the success of the piece in light of stated performance intentions
- Evaluate the success of the skills used, structure of the devised piece, and the designs and materials used in the creation of the piece
- Evaluate the creative process from conception to performance, highlighting significant moments and justification of creative choices

Format of Critical Commentary
-The Critical Commentary should be no more than 2000 words
-Arial font size 11, double-spaced
-Written in formal, continuous prose
-Must include a bibliography of critical material read
-Should include Annexes (but this will not be counted towards assessment)

Research

2009-08-05T08:56:00.000-07:00

Children's Video Theater
Basically, it's a few vids with superb marionette skills
The Creativity Insititute
The Creativity Insititute: Script ideas!!!
Links for puppetry
How-to kit
From ehow.com-marionette,

Features

Marionettes are puppets that are three-dimensional figures with strings attached to various body parts. The strings run up to a controller, known as an "airplane," that is held by the puppeteer. Basic marionettes have approximately nine strings, usually attached to hands, feet, joints such as elbows and knees, the back and the head. More complex marionettes can have more than 30 strings. Marionette bodies can be made of any number of materials, but are most commonly crafted from wood, papier mache or foam.

Function

The puppeteer controls the marionette's movements by rocking, twisting and jiggling the airplane with one hand, and plucking individual strings with the other to make individual parts move more dramatically. The more joints and strings a marionette has, the wider range of movements a puppeteer can achieve. In the hands of a skilled puppet master, a marionette can mimic any movements that a human or animal can make.

Types

The Sicilian-style marionettes are one of the most simplest of this type of puppet, with only one string attached to the hand and a rod that runs through the puppet's body and head. Czech-style marionettes are more complex, as they also have a central rod, with additional arm and leg strings, and occasionally strings attached to the jaw and ears. Bunraku marionettes from Japan are large, sometimes more than 4 feet tall, and considerably more complex to operate. They can have so many moving parts that a single marionette will require a team of several puppeteers to operate it.

History

The art of puppetry began in ancient China. Shadow puppets were flat figures made of animal skins, cut into a human or animal shape. Rods operated from below were attached to the arms and head to make them move. In India, puppets appeared with wires controlling them from above, rather than rods from below. In these early, primitive marionettes, one string went through the crown of the puppet, and ran through the puppet's arms and legs. Known as "string puppets," the puppet would move by jiggling the string.

Time Frame

The use of these puppets took off in the Middle Ages, when they showed up in European churches performing Bible stories. The marionette, French for "Little Mary," was named after the Virgin Mother. The church stopped use of puppets, but they were so popular that street performers began to use them at markets and fairs. In the 1800s the marionette took the form we are familiar with today. English puppet master Thomas Holden added strings to the hands and feet so that they could have more complex and lifelike movements. In the 20th century, puppeteers began opting for rod-arm and glove puppets, but marionettes remain the most difficult and delicate form of puppetry to master.

From Marionette: Tradition to Robotic,
Number of Strings. Using 8 to 9 strings in a generic marionette is only a rule of thumb. The actual number of strings used in a marionette depends on the desired performance of the figure. Western puppeteers tend to keep the number of strings to a minimum by using a counter-balanced design which allows gravity to hold a puppet in a “normal” pose when at rest. A typical western marionette with human figure uses 8 to 12 strings. Traditional Chinese marionettes normally use 16 to 24 strings, sometimes up to 50 strings, for a fully detailed human-like manipulation. These detail controls usually focus on the facial expressions, arm, and palm movements. In a Chinese marionette play called “Drunken Zhong Kui” (鍾魁醉酒) by the puppet master Mr. Huang Yique (黃奕缺) of Quanzhou (泉州), China, the figure of Zhong Kui (Fig. 1d) comprises 50 over strings. In the play, the marionette can perform very sophisticated movements like picking up wine cups, drinking the wine, pulling out and holding back the sword, etc.