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The article presents the literary criticism of the books "Alibi" and "The Puppeteer" by Robert Kroetsch. The book focuses on the "godgames" that were educational. It further states that the postmodern or poststructuralist plot in his novels is were depicted by the names that the characters bear. The identification of the godlike characters was done by drawing the strings in the background of the novels and the readers are pushed off track regularly.

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Stanislav Nový is a Czech puppeteer of the first half of the 20th century who, comparing to his peers, supported the tradition of the travelling marionette theatre up to the end of 1950s. There is no doubt it was caused by his extraordinary abilities and higher quality of the puppet show. Apart from taking care of the stage, puppets, decorations as well as the technical equipment, it concerned in particular enlivening the traditional repertoire while keeping the unique staging style. The present study in general deals with the theatre craft of Stanislav Nový. [ABSTRACT FROM AUTHOR]

Wayang tengul is one type of wayang (puppet) belonging to Indonesia existing in Sidobandung Village, Balen Subdistrict, Bojonegoro Regency. This wayang is still preserved and found attractive by society until now. This wayang preservation depends on society's appreciation as the audience of wayang tengul and is one of the most important factors for the success of a performance. Therefore, this research attempts to describe how people in Sidobandung Village appreciate wayang tengul. This qualitative research was conducted in Sidobandung Village. It shows how the people highly appreciate wayang tengul art since this wayang art is unique, not strictly bound by wayang common practice, performed interactively between dalang (puppeteer), gending (Javanese music) and audience and laden with guidance presented in fresh jokes. [ABSTRACT FROM AUTHOR]

This article explores how gestures contributed to the communicative interaction achieved during puppet performances in indigenous communities in the Chiapas Highlands of Mexico. It presents the case of the Petul-Xun hand-glove puppet shows, which were performed from 1954 to 2000 as part of educational campaigns aimed at "modernising" the Tsotsil and Tseltal Mayan population in that region. The study adopts mixed methods to correlate archival documents, photographs, and ethnographic interviews with former puppeteers and witnesses. Drawing on Linguistic Anthropology, the author coined the concept of gestural participation frameworks to suggest that Petul-Xun puppeteers adapted their performances to public responses, transforming the messages, and were thus able to enhance communication with the population. The paper uses the ideas of gestural memory and emotional act to interpret interviews carried out with former participants as they commented on the photos and their own experience, shedding light on the impact that the art is said to have had in the region. [ABSTRACT FROM AUTHOR]

No matter the type of puppet or marionette, the area in which one form of puppet theatre or another was created, the characteristics of the puppet-style of representation have remained the same: the embodiment of a hero through an object that has more or less mobile elements; the nonverbal behaviour of the animated object, pantomime and unintelligible speech; the usage of music or speech for emphasizing the puppeteer's performance. [ABSTRACT FROM AUTHOR]

In the last century, Romanian puppet theatre has not only received, but it has also given to the world - which I would personally correct. Perhaps: "it has given to the world innovative, poetic performances that have brought about a new aesthetic vibe." If you skim through World Encyclopaedia of Puppetry Arts (first edition published in French, under the title Encyclopédie mondiale des arts de la marionette, and second edition published in English, under the aforementioned titled, available online at: https://wepa.unima.org/en/), you will find more information on Romanian puppet theatre than you might expect. A complicated history that has been reshaped subjectively - as is the case with every history. And, given that Margareta Niculescu left this world on the 19th of August, 2018, I've decided to turn back to the pages 493 and 494 (from the first edition), as if going in a pilgrimage. For quite some time, I've been thinking of getting closer to her, all prejudices, myths and subjectivity aside; perhaps Matei Brunul1 has also helped; do shadows make way for themselves/do they follow us? In any domain, at any time, in any place. What matters is that you want to go back into the light, to free yourself, to be able to remember. [ABSTRACT FROM AUTHOR]

The heyday of Wayang Orang Sriwedari (Sriwedari), a central Javanese company doing traditional dance drama, was the 1960s-1970s, when it had great popularity and famous stars. From the 1980s the company lost popularity. In 2009, a shortened (padat), tourism-oriented performance model was tested which shows potential for reviving the form and reinvigorating the company [ABSTRACT FROM AUTHOR]

Asian ancestral deliverance narratives are epitomized, in the Chinese puppet show stories of Mulian rescuing his mother and the Balinese puppet show tale of Bima saving his parents. The Mulian story with links to the Hungry Ghost Festival and Bima's story with ties to cremation ceremonies in Bali are comparable, showing that puppetry across different Asian religious and national divides has link to rituals honoring the dead. [ABSTRACT FROM AUTHOR]

Delhi-based puppeteers Dadi Pudumjee, Ranjana Pandey, Puran Bhatt, and Anurupa Roy negotiate the balance between the local and global. What do these transnational puppeteers, who represent "India" in international forums such as UNIMA, choose as their foci and how do they relate to older traditions of puppetry? [ABSTRACT FROM AUTHOR]

The art of shadow play within the Malaysian Wayang Kulit is unique with rich articulated translucent shadow movement but unfortunately it is slowly dying. In the past, the movement of puppets and shadows are performed by the skilled and experienced puppeteers or ‘Tok Dalang’. Without realizing it that puppets movement are driven or influenced by human bodily motion. With the current scenario of shadow play is slowly being imminent extinct, we would like to discuss relationship between Laban Movement Analysis (LMA) in Wayang Kulit puppets movement. This research will focused on main areas that were identified in Wayang Kulit within LMA theory such as physical, space, shape, and effort. This research will hope that it will provide a tacit knowledge that LMA theory exist and applicable in shadow puppets or Wayang Kulit that would benefit for future research.

The main objective of this paper is to analyse the coverage that TVE-1 news programmes gave to the case of the "puppeteers", since being remanded in custody on 6 February until their release four days later on the 10th, under the provisions of Act 17/2006 pertaining to fulfilling its public service remit. Besides this, the news coverage on TVE-1 is compared with news items published in ABC on 6 and 11 of February, in order to assess whether there were any differences. The case of the puppeteers is a relevant indicator of the limits imposed on freedom of thought and expression versus the defence of public order in Spain, since the use of satire was linked to the glorification of terrorism and incitement to hatred (Arts. 578 and 510 of the Spanish Criminal Code). Thus, the intention is to assess whether the practically inappreciable differences in the news coverage between Spanish public television and a private media company made the former an accomplice to the partisan struggle to reflect reality in a context of political and institutional crisis. [ABSTRACT FROM AUTHOR]

This article studies the capacity of Early Modern puppets and videogame avatars, two seemingly unrelated objects of research, to produce and reproduce gender discourses. Despite being made very differently, their wooden and coded natures both participate in of acts of aligning with and resisting against existing ideologies. This is because puppets and avatars' relation to ideology does not depend exclusively on the stories they contribute to tell; the materiality of both cultural texts as well as the puppeteers and videogame players themselves all contribute to the reenacting and contesting of gender discourses. [ABSTRACT FROM AUTHOR]

Kleist's oblique and sometimes enigmatic dialogue on the marionette theatre (1810) may helpfully be approached, it is argued here, within a cognitive perspective. Together with the essay 'Von der Überlegung', published a few days earlier, this dialogue explores the distinction between automatic and reflective response. It presents the dancing puppet as an extension of the puppeteer's mind, that is to say of the cognitive activities that govern its movements. Drawing on contemporary mathematics and notions such as Hogarth's 'line of beauty', it even imagines the possibility of constructing an automatic puppet that could dance gracefully without the immediate intervention of the puppeteer. Its anecdotal examples (the graceful adolescent who becomes fatally self-conscious, the fencing bear) probe the critical borderline between the unreflective and the reflective. Such arguments and anecdotes may be understood in relation to notions drawn from modern cognitive neuroscience and psychology, such as motor resonance, kinesis, intentionality, and the perception of 'life'. Kleist's intervention in the prehistory of these questions, however, remains essential: his imaginative way of approaching them induces the reader to see the problem, to encounter it as already embodied, rather than as the result of a set of scientific or indeed philosophical propositions. [ABSTRACT FROM AUTHOR]

The article discusses several aspects of Reverse Repatriation of Javanese Puppets and presentation of Wayang in Museums. It mentions sociologist Bruno Latour's theories of the agency of objects and networks of humans and nonhumans are increasingly informing puppetry scholarship. It also mentions intimate bond between puppet and puppeteer is usually severed when puppets are accessioned by museums.