Search

Directors can utilize different ways of developing ideas through overlapping arts and ideas in order to improve performance methods. Ideas are developed based on the play (or the narrative), the puppet, and the atmosphere. According to ideation-based atmosphere, this research explores the ways of developing ideas grounded on surrealistic paintings by Rene Magritte. The question is whether it would possible to create puppet theatre through the atmosphere of paintings. This paper explains the characteristics of the surrealism movement and surrealistic paintings as well as five elements containing dreaminess, fiction, fantasy, exaggeration and satire; and the semantic characteristics of puppet theatre such as fantasy, symbolism, enlargement and lessening or simplification. Subsequently a typology of three developing the ideation-based methods for puppet theatre will be examined. After introducing the characteristics of Magritte's paintings and declaring their overlap with the characteristics of puppet theatre, three works of Magritte are idealized according to the mentioned properties. Developing ideas in accordance with the atmosphere in addition to its interdisciplinary nature, will present more interpretative options for making puppet theatre. Paintings of Rene Magritte with its surrealistic atmospheres and the surrealistic compositions could help the process of puppet theatre creation. Puppet theatre artists need a text, a puppet or an atmosphere and Rene Magritte's works help from this perspective. For example, places have an important role is creating and showing the narrative. Rene Magritte created special places through his painting. The works chosen for this research are Golconda (1953), Personal Values (1952) and Portrait of Stephy Langui (1961). The Golconda portrays many men with black overcoats and hats. They are hanging in front of classic buildings. These men are the same. Some of the art historians have argued that this painting reveals Rene Magritte' mind about bourgeoisie, feminism, or capitalism. The Personal Values shows an odd bedroom which contains oversized objects such as a very big comb, a very big glass, and a very big soap. These objects are close to a little bed and a normal closet. The walls of this bedroom show some white clouds on the blue sky. The Portrait of Stephy Langui shows two little men by a calm sea and a very big and beautiful and young woman's head who is looking at the two. There is a giant stone in the corner of this painting. This is an unconventional portrait. This research reveals that this artistic technique will be possible through the art of painting art, especially the surrealistic. There are similarities between the characteristics of surrealistic paintings and puppet theatre. The companionship of reality and imagination is a characteristic that the art of painting and the art of puppet theater both have in common. So puppet theatre artists can use surrealistic paintings for developing ideas and puppet theatre creation. [ABSTRACT FROM AUTHOR]

This paper concerns sock puppetry, a practice which involves an individual communicating under multiple pseudonymous identities in a manner that makes it seem as though these personas are distinct conversational participants. I provide a definition of sock puppetry that is more narrow than other definitions, allowing it to be distinguished from related phenomena. I then analyse some of the ways in which sock puppetry can interfere with social tools we use for establishing trust within an online community, evaluating a speaker's credibility, and generally deciding who and what to believe. [ABSTRACT FROM AUTHOR]

Bali has a basic philosophy whose inspiration comes from the comos-theos-antropos aging by integrating the teachings of Balinese Hinduism-Balinese nature and Balinese people as the basic orientation in all ideas and cultural artworks, resulting in a special attraction in each of its artworks. The data collection method was carried out by observation, interviews, and documentation, as well as design design using the Corel Draw 2020 design program. The research resulted in six ready-to-wear semi-couture fashion designs for adult women's evening parties. This fashion collection is named Reminiscence which means lifting the roots of local Balinese culture, namely the Kamasan Wayang dragon. These six designs are designed using shimmer silk, Balinese woven, and tulle. Kamasan puppet designs are applied to different positions in each design. The first group design in the first design, the Kamasan puppet dragon design position was applied to the front position of the chest circling back to the front pelvis. The second design position of the Kamasan puppet dragon design on woven cloth is tucked around the waist like a Balinese dancer's fashion shawl. The third design positions the dragon head design on the front chest fit. The second group of designs in the first design positions the Kamasan puppet dragon design on the elongated woven fabric. The second design scraped the position of the elongated design. Design the third design position on the chest fit. Fashion design is the dress for all six designs. The design character of the first group is feminine sexy and the design character of the second group is feminine elegant. Dress variations are bolero, obi, and blazer. [ABSTRACT FROM AUTHOR]

Copyright of Arenal.Revista de Historia de las Mujeres is the property of Arenal. Revista de Historia de las Mujeres and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

As an ancient performing art, the puppet show was popular entertainment for early civilians. However, with the advance of media technology, traditional puppetry declined gradually, and old puppets became relics displayed in museums. In this study, an interactive role-play system for learning and sustaining traditional glove puppetry is proposed. Constructed with RFID and multimedia techniques to replace the traditional static displays of puppetry, the proposed system allows in-person experiencing of operating real puppets of famous roles. Statistical analyses of the comments collected from expert interviews and the users' answers to a questionnaire survey lead to the following findings: (1) it is easy to understand and operate the puppets as physical interfacing with the system; (2) the interactive system design conforms to the 3E indicators of easiness, effectiveness, and enjoyableness; (3) the users' experiences of role-plays emulating experts' puppet shows help learn the knowledge and skills of the traditional puppetry; (4) in-person operations of real puppets and experiences of RFID-based interactive interfacing bring the users feelings of pleasure and senses of achievement as puppet performers; and (5) the content designs and operations of the puppet characters can turn into a fine material for learning the traditional puppetry. [ABSTRACT FROM AUTHOR]

Puppetry is a performance where it involves manipulation of puppets and has been a part of our Indian culture since ages. There are different types of puppets prevalent in India. Kathputli is one the most famous type of string puppet of Rajasthan, where kath means wood and pulti means doll. Bhat community is the originator of this craft and they claim that their ancestors had performed for royal families and received great honor from the rulers of Rajasthan, Madhya Pradesh, and Punjab. Today, puppetry is not only seen as a medium of entertainment but also as a strong medium of education. Kathputli is an expression of culture, costumes, and lifestyle of the place where it is made, but due to lack of patronage many traditional puppeteers are forced to abandon this craft. This study is an attempt to trace the origin and history of the string puppets of Rajasthan. The Bhat community was profiled to understand traditional ways of making of the string puppets and the changes seen in terms of materials used in making of puppets, tools, staging techniques, scripts, etc. Future prospect of puppetry was also discussed from inputs received from the promoters of puppetry and the audience. [ABSTRACT FROM AUTHOR]

The article discusses how to understand Laura Collin-Hughes's sentiments and the impulse to lament the mass cultural addiction to smartphones. Topics include considering the role of the arts in political and social activism in art projects and disrupt consumerist models of artistic engagement; and writing on contemporary and traditional puppetry in the U.S. and Asia after the political unrest and environmental crises.

The article informs about the Bread and Puppet Theater centered around Judson Church, created a fertile and supportive environment with visions of artist Richard Tyler and activist novelist Grace Paley. Topics include performances and create giant puppet happenings as part of parades organized by the burgeoning anti-Vietnam; and outright political activism of the Living Theatre to elevate the low-culture status of puppetry into a recognized art form creating for network television.

The article concerns the graduation puppet performance Wrocław: Escape Room, directed by Arkadiusz Buszko from the National Academy of Theatre Arts in Kraków at the Puppetry Department in Wrocław. The narrative of the performance is set in post-apocalyptic Wrocław, and the heroes are historic figures connected with this city at various stages of their lives. An analysis of the performance, with particular emphasis on the role and form of puppets, animated objects and costumes, made it possible to assess how the staging concepts of the creators contributed to the horror effect and how they influenced the presentation of the characters. The authors of the Wrocław diploma piece utilized the puppets’ potential for formal transformations in creating characteristic, fascinating, but also quite frightening puppets and costumes made of fragments of mannequins. Therefore, the analysis of the elements of the performance was supplemented with considerations on the mannequins and their role in the theatre. The second category that is significant for the interpretation of the performance is the notion of a monster. Research on the perception of monsters in culture proved to be helpful, as it allowed for reading the characters of the performance through the lens of monstrosity. [ABSTRACT FROM AUTHOR]

Copyright of AmeSea International Journal is the property of Africa & Middle East Society for Education through Art and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

• Four- to five-year-olds know when their own past belief was incorrect. • We found that 3-year-olds know their own current belief might be incorrect. • Given peer disagreement, they rechecked their evidence. • False belief understanding is present significantly earlier than classic tasks suggest. By 4 or 5 years of age, children understand when their own past beliefs were incorrect, or when others' current beliefs are incorrect. In the current study, we asked whether young children understand when their own current belief might be incorrect. 3- and 5-year old children (N = 77) made a judgment and then experienced a puppet making a judgment about the same situation. Children of both ages rechecked their evidence more often when the puppet disagreed with them than when it agreed with them (and the nature of their rechecking was different in the two conditions as well). These results suggest that already by 3 years of age children understand that they might currently be wrong, and they know that rechecking the evidence can resolve their uncertainty. [ABSTRACT FROM AUTHOR]

The article talks about the educational theater in schools, pupils have ambitions and great desire to roleplay, because they get this desire by nature. Theater is considered as a father of all arts, which contributes to the development of child's brain during his early stages of life. However, the educational curriculum failed to include theater as a school subject; on the one hand, cultural centers and other bodies strive to create a theater space that match with the little child's mind. Therefore, authors should deal with child's intellectual and imaginative level. Among the examples of child's love for theater is his simulation and imitation to his teacher when delivering courses in the classroom, he indeed loves and is inclined to act. [ABSTRACT FROM AUTHOR]

A preliminary summary of Fulbright research exploring Japan's diverse puppetry and performing object traditions taking place during the Covid pandemic. While focusing primarily on ritual puppetry, including various versions of Sanbasō (a performance generally using three puppet characters taken from the noh play Okina , done for purification and blessings) and on the hinkoko tradition (the use of large, rustic, rod puppets within a unique harvest ritual in Gifu) among other forms, the research also expands onto non-ritual puppetry traditions outside of ningyō jōruri (or Bunraku) , Japan's best-known form of puppetry. These other forms include bun'ya ningyō , a style of epic narration done with puppets, and sekkyō ningyō , Buddhist sermon-ballads performed with puppets. Based on personal encounters and other sources, the report sheds light on the current status of these forms and the people involved in them and gives a view into how practitioners negotiated pandemic restrictions. [ABSTRACT FROM AUTHOR]

The article introduces various contributors with diverse backgrounds and research interests, including philosophy, literature, performance studies, and comparative literature. Topics include philosophical inquiry into the nature of learning, the intersection of puppetry and self-image, and the reception of cybernetics in French philosophy.

The key aim of this research was to examine the unique contribution of using puppets to produce primary communication between high functioning children with autism and an adult they encounter for the first time. This was an explorative study through which we sought to investigate a new phenomenon, which, hitherto has not been explored according to the professional literature. Eleven children aged 4-6.5 years old, who were diagnosed with high functioning autism and 11 adults participated in the research. The research framework included semi-structured interviews with each of the children. Interviews included a puppet that was operated by an adult whom the children were meeting for the first time. The research findings show a high level of response on the part of the children. This was expressed in the dialogue they carried out with the puppet, while sharing their internal world and individual areas of interest. The children also expressed their desire to continue to meet in the future. The interviews with the adults after the encounters with the children maintained that the puppet created interest and enjoyment on the part of the children during the interview, and all this over a relatively short time span. All interviewees were in full agreement regarding the great contribution the puppet had made to the primary communication process. The research findings testify to the benefits of using puppets as an effective mediating tool to produce primary communication with children diagnosed as highly functioning on the autistic spectrum. [ABSTRACT FROM AUTHOR]

Copyright of Anagnórisis: Revista de Investigación Teatral is the property of Anagnorisis: Revista de Investigacion Teatral and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)