NAVIGATION
SOCIAL
CONTACT
e-mail: info@theworldthroughwoodeneyes.co.uk
Creative thinking
and the Puppeteer
Based
on
the
question
from
so
many
puppeteers
‘how
do
we
start’,
I
tried
to
outline
some
of
the
most
important
elements
to
analyse
this
question.
Fundamental
to
answering
this
question
is
creative
thinking.
Although
this
may
seem
obvious,
it
is
surprising
how
this
element
of
the
creative
process
and
the
initial
planning
of
a
production are missing.
The
time
spent
on
proper
planning
is
priceless;
it
can
save
time
and
frustration,
as
well
as
money.
Although
most
of
us
subconsciously
know
the
importance
of
thinking,
production deadlines and other frustrations lead to us not using this valuable resource. So this should always be our starting point.
The
puppet
theatre
is
a
visual
theatre
where
design
aesthetics
have
the
greatest
impact.
Develop
design
projects
for
each
production
as
a
means
of
ensuring
that
a
production
has
a
well
thought
out
cohesive
overall
style.
Pay
particular
attention
to
the
body
language
of
the
puppet
and
its
expressive
hands
and
faces
that
can
be
read
over distances.
Searching
for
new
methods
of
working
and
ideas,
creating
new
puppet
productions
combines
two
important
elements,
dramaturgy
and
scenography,
often
seen
as
two
separate subjects, in the puppet theatre they work together. Also of the most important ingredients of the puppet theatre invention and a surprise are essential.
In
an
educational
context
we
get
used
to
dealing
with
scientific
ideas
developed
to
solve
problems;
the
puppet
theatre
is
no
different.
Creative
and
rational
thinking
is
essential
to
achieving
aims
and
objectives
required
by
the
demands
of
the
established
idea.
New
and
effective
ideas
are
the
result
of
the
pleasure
and
a
sense
of
achievement in discovering them and applying them to a production that really works.
Ideas
come
in
many
ways,
shapes
and
forms
and
can
be
applied
to
many
aspects
of
a
production,
and
they
are
directly
linked
to
the
imagination
and
creativity
of
the
individuals
involved
in
the
creative
process
of
producing
new
and
original
work.
Thinking,
and
the
development
of
a
logical
train
of
thought
to
test,
and
realise
ideas
or
concepts
is
essential.
Everyone
is
different
and
has
different
ways
of
thinking
and
working,
even
so,
thinking,
logic
and
reasoning
are
essential
to
achieving
desired
results.
Invention
has
resulted
in
virtually
everything
that
we
make
use
of
in
our
daily
lives,
why
shouldn’t
invention
be
a
fundamental
requirement
in
the
creation
of
new
work
and
ideas
for
puppet
theatre
production.
The
discoveries
that
we
make
during
the
creative
process
enriches
both
the
creative
team
and
the
audiences
who
are
the
prime
receivers of our efforts.
New
and
innovative
work
and
ideas
will
always
be
needed
to
ensure
the
future
of
the
ancient
art
and
craft
of
the
puppet
theatre
and
future
generations
of
puppeteers.
Generations
of
creative
artists
of
all
disciplines
have
left
us
a
legacy
of
inspirational
material
and
ideas
that
generate
new
thinking
and
ideas,
but
most
puppeteers
make
very little use of them. Without new ideas the puppet theatre will never survive. New ideas will only secure a future, and the basis for new developments.
New
and
innovative
work
and
ideas
enable
us
to
find
simpler
and
more
efficient
ways
of
working
and
producing
more
inspiring
productions.
Creating
new
work
is
an
expression
or
evidence
of
the
human
soul
that
inspires
and
entertains
people.
Finding
new
and
innovative
ideas
is
a
fundamental
part
of
the
creative
thinking
process.
Many of the finest puppet productions deal with the greatest ideas and ideals of human kind and explore the beliefs and values of individuals.
The
puppet
theatre
is
a
composite
of
languages
of
expression,
and
not
just
words,
or
the
spoken
word.
Words
can
have
many
connotations
and
different
meanings.
One
of
the
basic
techniques
used
preparing
puppet
theatre
productions
is
that
of
a
brainstorming
exercise
using
single
words,
or
combinations
of
words,
related
to
a
topic.
Invented
language,
vocal
sound
patterns,
or
the
use
of
single
words
by
applying
a
range
of
intonations
to
express
different
meanings
and
emotions.
Use
visual
imagery
for inspiration.
In
the
same
way
as
you
take
a
line
for
walk,
take
a
word
for
a
walk.
When
creating
characters,
give
them
a
history
before
trying
to
develop
dialogue.
Watch
and
listen
to
characters
in
different
situations.
Listen
to
the
speech
patterns
and
rhythms.
Malapropisms
are
interesting,
as
are
combined
words.
I
well
remember
a
Polish
puppeteer
using the non-existent word ‘entwitched’. Meaning entertained and bewitched.
When
identifying
an
argument
to
develop
or
putting
a
series
of
ideas
or
arguments
together
to
provide
a
line
of
reasoning,
keep
it
as
objective
and
simple
as
possible.
Find
arguments
that
can
provide
for
the
development
of
ideas
being
proposed.
Avoid
elaborate
dialogues,
the
puppet
cannot
sustain
them.
How
can
you
use
visual
expressions
to
project
ideas?
When
starting
out
to
develop
a
scenario
use
the
basis
of
the
well
made
play;
a
beginning,
where
all
of
the
characters
and
actions
are
introduced
at
a
slow
pace;
middle,
where
dramatic
conflicts
are
developed;
and
an
end,
where
conflicts
are
resolved
and
ultimately
end
in
peace.
This
is
based
on
an
ancient Japanese structure Jo-Ha-Kyu to be found in all Japanese arts and theatre performance.
The
process
of
creative
thinking
in
the
development
of
a
puppet
theatre
production
can
often
be
a
solitary
experience
unless
there
is
a
collaborative
creative
team.
The
puppet
theatre
can
also
suffer
from
the
lack
of
well
informed
critics
fully
conversant
with
the
development
of
the
puppet
theatre
and
the
finest
examples
of
puppet
theatre productions.
In
most
cases
puppet
theatre
productions
lack
the
luxury
of
a
director
or
experienced
artistic
leader
whose
selective
eye,
and
cultured
mind,
not
only
shapes
the
production,
but
also
functions
as
the
intermediary
between
the
production
and
the
audience
that
has
a
substantial
role
to
play
as
part
collaborator
in
the
process.
When
the
production
leaves
the
rehearsal
space
where
the
works
structure
has
been
created.
The
meeting
of
production
and
audience
for
the
first
time
is
the
start
of
another
part of the process of the evolution of a work which should change to continue to keep it alive.
Where
there
is
no
director,
the
competent
arts
critic
can
be
invaluable
to
perform
the
role
of
intermediary
between
actor/puppeteer
and
the
audience.
For
many
years
there have been discussions about the role of the critic and the puppet theatre and many puppeteers have expressed the view that puppet theatre doesn’t need them.
A check list:
Keep note books, sketch books, and albums of inspirational pictorial references and ideas.
Study cartoons and caricatures.
Thinking clearly, logically and creatively is fundamental to a successful result.
Conceptualise. I have a concept, but do I have the knowledge, skills and experience to realise it?
Do a SWAT assessment (strengths, weaknesses opportunities and threats)
Develop a sense of ownership
Use reasoning and memory recall, calculative reasoning.
There is no one way of doing things.
Learn through self discovery. Self realisation.
Apply what you think and learn.
Value first thoughts and ideas.
Learn
to
think
effectively;
learn
to
make
connections
between
different
thoughts
and
experiences.
Memory
recall
is
essential
in
the
process
of
development
and
discovery
and the understanding of concepts. Think outside the box – the one that you usually inhabit.
Develop a logical approach to research and discovery. Critical and analytic thinking is important.
Make thinking time. It is an integral part of the process of developing ideas. Develop thinking time without distractions. Evaluate your thinking time – what did you learn?
Where
do
you
think
that
you
might
go
next?
What
could
or
should
be
done
next?
Keep
on
questioning.
How
could
it
be
done
differently?
How
could
it
be
done
better?
How well does the project work?
Seek inspiration from the riches that we are surrounded by.
Use inanimate objects to discover their inner actions, lives, motivation and language. What are inanimate objects trying to tell you; their structural language?
Think of different and exciting ways of approaching ideas and concepts.
Use
the
basic
three
part
structure
of
the
well
made
play.
The
beginning
where
the
main
characters
are
introduced;
the
middle
where
conflicts
develop;
the
end
where
the
conflicts are resolved.
Word
limits.
Don’t
‘do’
what
you
can
say
better,
don’t
‘say’
what
you
can
do
better.
Create
word
pictures.
Use
‘doing
words’.
Words
that
can
be
visualised
and
physicalised. Turn words into pictures. Focus on images and body language. The importance of editing – try to say things with only 50% of what you have written.
Study all forms of music and the importance of music in the puppet theatre. Listen to music – not normally the type of music that you usually listen to.
Doodle – take the line for a walk.
Try not to create puppet characters that humans can do better. Look for puppetesque qualities.
Study the different dance, mime and movement techniques.
Always ask three key questions. Why do I want to do it? How am I going to do it? For whom am I going to do it?
Remember that the audience is part collaborator in the development of a successful performance.
Give the audience what they want and more.
The
puppet
theatre,
in
all
of
its
forms
and
function
is
the
central
means
of
expression.
When
perfuming
with
a
puppet
neutralise
yourself
to
avoid
distraction
during
their
performance.
Learn to be self-critical. Get feedback. Explain or discuss your ideas with others – children are great critics.
Remember that the actor in the puppet theatre requires a wide range of performance skills.
Discover the roles and functions of the actor on the puppet stage.
Take risks – make each project a challenge.
Don’t copy. If you cannot improve on an idea don’t copy it.
Don’t deliver studio workshops for a paying audience.
Be passionate about what you do.
Beware of fashionable tendencies.
Most
puppeteers
lack
good
vocal
skills.
There
are
many
ways
of
developing
a
sonorous
voice.
There
are
many
basic
voice
training
programmes
on
the
internet,
also
good
voice workshops available elsewhere. Make use of them.
Learn the basics of stage craft and the craftsmanship of performance.
Maintain production values; study these values in other forms of entertainment.
Study the vast riches of the discoveries of previous generations of puppeteers worldwide.
Develop a passion for the art and craft of the puppet theatre.
There is no success without endless hard work and rehearsal.
Add something new no matter how insignificant.
John M. Blundall
August 2010
CONTACT
e-mail: info@theworldthroughwoodeneyes.co.uk
SOCIAL
Creative thinking
and the Puppeteer
Based
on
the
question
from
so
many
puppeteers
‘how
do
we
start’,
I
tried
to
outline
some
of
the
most
important
elements
to
analyse
this
question.
Fundamental
to
answering
this
question
is
creative
thinking.
Although
this
may
seem
obvious,
it
is
surprising
how
this
element
of
the
creative
process
and
the
initial planning of a production are missing.
The
time
spent
on
proper
planning
is
priceless;
it
can
save
time
and
frustration,
as
well
as
money.
Although
most
of
us
subconsciously
know
the
importance
of
thinking,
production
deadlines
and
other
frustrations
lead
to
us
not
using
this
valuable resource. So this should always be our starting point.
The
puppet
theatre
is
a
visual
theatre
where
design
aesthetics
have
the
greatest
impact.
Develop
design
projects
for
each
production
as
a
means
of
ensuring
that
a
production
has
a
well
thought
out
cohesive
overall
style.
Pay
particular
attention
to
the
body
language
of
the
puppet
and
its
expressive
hands
and
faces
that can be read over distances.
Searching
for
new
methods
of
working
and
ideas,
creating
new
puppet
productions
combines
two
important
elements,
dramaturgy
and
scenography,
often
seen
as
two
separate
subjects,
in
the
puppet
theatre
they
work
together.
Also
of
the
most
important
ingredients
of
the
puppet
theatre
invention
and
a surprise are essential.
In
an
educational
context
we
get
used
to
dealing
with
scientific
ideas
developed
to
solve
problems;
the
puppet
theatre
is
no
different.
Creative
and
rational
thinking
is
essential
to
achieving
aims
and
objectives
required
by
the
demands
of
the
established
idea.
New
and
effective
ideas
are
the
result
of
the
pleasure
and
a
sense
of
achievement
in
discovering
them
and
applying
them
to a production that really works.
Ideas
come
in
many
ways,
shapes
and
forms
and
can
be
applied
to
many
aspects
of
a
production,
and
they
are
directly
linked
to
the
imagination
and
creativity
of
the
individuals
involved
in
the
creative
process
of
producing
new
and
original
work.
Thinking,
and
the
development
of
a
logical
train
of
thought
to
test,
and
realise
ideas
or
concepts
is
essential.
Everyone
is
different
and
has
different
ways
of
thinking
and
working,
even
so,
thinking,
logic and reasoning are essential to achieving desired results.
Invention
has
resulted
in
virtually
everything
that
we
make
use
of
in
our
daily
lives,
why
shouldn’t
invention
be
a
fundamental
requirement
in
the
creation
of
new
work
and
ideas
for
puppet
theatre
production.
The
discoveries
that
we
make
during
the
creative
process
enriches
both
the
creative
team
and
the
audiences who are the prime receivers of our efforts.
New
and
innovative
work
and
ideas
will
always
be
needed
to
ensure
the
future
of
the
ancient
art
and
craft
of
the
puppet
theatre
and
future
generations
of
puppeteers.
Generations
of
creative
artists
of
all
disciplines
have
left
us
a
legacy
of
inspirational
material
and
ideas
that
generate
new
thinking
and
ideas,
but
most
puppeteers
make
very
little
use
of
them.
Without
new
ideas
the
puppet
theatre
will
never
survive.
New
ideas
will
only
secure
a
future,
and
the
basis
for
new
developments.
New
and
innovative
work
and
ideas
enable
us
to
find
simpler
and
more
efficient
ways
of
working
and
producing
more
inspiring
productions.
Creating
new
work
is
an
expression
or
evidence
of
the
human
soul
that
inspires
and
entertains
people.
Finding
new
and
innovative
ideas
is
a
fundamental
part
of
the
creative
thinking
process.
Many
of
the
finest
puppet
productions
deal
with
the
greatest
ideas
and
ideals
of
human
kind
and
explore
the beliefs and values of individuals.
The
puppet
theatre
is
a
composite
of
languages
of
expression,
and
not
just
words,
or
the
spoken
word.
Words
can
have
many
connotations
and
different
meanings.
One
of
the
basic
techniques
used
preparing
puppet
theatre
productions
is
that
of
a
brainstorming
exercise
using
single
words,
or
combinations
of
words,
related
to
a
topic.
Invented
language,
vocal
sound
patterns,
or
the
use
of
single
words
by
applying
a
range
of
intonations
to
express
different
meanings
and
emotions.
Use
visual imagery for inspiration.
In
the
same
way
as
you
take
a
line
for
walk,
take
a
word
for
a
walk.
When
creating
characters,
give
them
a
history
before
trying
to
develop
dialogue.
Watch
and
listen
to
characters
in
different
situations.
Listen
to
the
speech
patterns
and
rhythms.
Malapropisms
are
interesting,
as
are
combined
words.
I
well
remember
a
Polish
puppeteer
using
the
non-existent
word
‘entwitched’. Meaning entertained and bewitched.
When
identifying
an
argument
to
develop
or
putting
a
series
of
ideas
or
arguments
together
to
provide
a
line
of
reasoning,
keep
it
as
objective
and
simple
as
possible.
Find
arguments
that
can
provide
for
the
development
of
ideas
being
proposed.
Avoid
elaborate
dialogues,
the
puppet
cannot
sustain
them.
How
can
you
use
visual
expressions
to
project
ideas?
When
starting
out
to
develop
a
scenario
use
the
basis
of
the
well
made
play;
a
beginning,
where
all
of
the
characters
and
actions
are
introduced
at
a
slow
pace;
middle,
where
dramatic
conflicts
are
developed;
and
an
end,
where
conflicts
are
resolved
and
ultimately
end
in
peace.
This
is
based
on
an
ancient
Japanese
structure
Jo-Ha-Kyu
to
be
found
in
all
Japanese
arts
and
theatre
performance.
The
process
of
creative
thinking
in
the
development
of
a
puppet
theatre
production
can
often
be
a
solitary
experience
unless
there
is
a
collaborative
creative
team.
The
puppet
theatre
can
also
suffer
from
the
lack
of
well
informed
critics
fully
conversant
with
the
development
of
the
puppet
theatre
and
the
finest
examples of puppet theatre productions.
In
most
cases
puppet
theatre
productions
lack
the
luxury
of
a
director
or
experienced
artistic
leader
whose
selective
eye,
and
cultured
mind,
not
only
shapes
the
production,
but
also
functions
as
the
intermediary
between
the
production
and
the
audience
that
has
a
substantial
role
to
play
as
part
collaborator
in
the
process.
When
the
production
leaves
the
rehearsal
space
where
the
works
structure
has
been
created.
The
meeting
of
production
and
audience
for
the
first
time
is
the
start
of
another
part
of
the
process
of
the
evolution
of
a
work
which
should
change to continue to keep it alive.
Where
there
is
no
director,
the
competent
arts
critic
can
be
invaluable
to
perform
the
role
of
intermediary
between
actor/puppeteer
and
the
audience.
For
many
years
there
have
been
discussions
about
the
role
of
the
critic
and
the
puppet
theatre
and
many
puppeteers
have
expressed
the
view
that
puppet theatre doesn’t need them.
A check list:
Keep
note
books,
sketch
books,
and
albums
of
inspirational
pictorial references and ideas.
Study cartoons and caricatures.
Thinking
clearly,
logically
and
creatively
is
fundamental
to
a
successful result.
Conceptualise.
I
have
a
concept,
but
do
I
have
the
knowledge,
skills and experience to realise it?
Do
a
SWAT
assessment
(strengths,
weaknesses
opportunities
and threats)
Develop a sense of ownership
Use reasoning and memory recall, calculative reasoning.
There is no one way of doing things.
Learn through self discovery. Self realisation.
Apply what you think and learn.
Value first thoughts and ideas.
Learn
to
think
effectively;
learn
to
make
connections
between
different
thoughts
and
experiences.
Memory
recall
is
essential
in
the
process
of
development
and
discovery
and
the
understanding
of
concepts.
Think
outside
the
box
–
the
one
that
you usually inhabit.
Develop
a
logical
approach
to
research
and
discovery.
Critical
and analytic thinking is important.
Make
thinking
time.
It
is
an
integral
part
of
the
process
of
developing
ideas.
Develop
thinking
time
without
distractions.
Evaluate your thinking time – what did you learn?
Where
do
you
think
that
you
might
go
next?
What
could
or
should
be
done
next?
Keep
on
questioning.
How
could
it
be
done
differently?
How
could
it
be
done
better?
How
well
does
the
project work?
Seek inspiration from the riches that we are surrounded by.
Use
inanimate
objects
to
discover
their
inner
actions,
lives,
motivation
and
language.
What
are
inanimate
objects
trying
to
tell you; their structural language?
Think
of
different
and
exciting
ways
of
approaching
ideas
and
concepts.
Use
the
basic
three
part
structure
of
the
well
made
play.
The
beginning
where
the
main
characters
are
introduced;
the
middle
where
conflicts
develop;
the
end
where
the
conflicts
are
resolved.
Word
limits.
Don’t
‘do’
what
you
can
say
better,
don’t
‘say’
what
you
can
do
better.
Create
word
pictures.
Use
‘doing
words’.
Words
that
can
be
visualised
and
physicalised.
Turn
words
into
pictures.
Focus
on
images
and
body
language.
The
importance
of
editing
–
try
to
say
things
with
only
50%
of
what
you
have
written.
Study
all
forms
of
music
and
the
importance
of
music
in
the
puppet
theatre.
Listen
to
music
–
not
normally
the
type
of
music
that you usually listen to.
Doodle – take the line for a walk.
Try
not
to
create
puppet
characters
that
humans
can
do
better.
Look for puppetesque qualities.
Study the different dance, mime and movement techniques.
Always
ask
three
key
questions.
Why
do
I
want
to
do
it?
How
am I going to do it? For whom am I going to do it?
Remember
that
the
audience
is
part
collaborator
in
the
development of a successful performance.
Give the audience what they want and more.
The
puppet
theatre,
in
all
of
its
forms
and
function
is
the
central
means
of
expression.
When
perfuming
with
a
puppet
neutralise
yourself to avoid distraction during their performance.
Learn
to
be
self-critical.
Get
feedback.
Explain
or
discuss
your
ideas with others – children are great critics.
Remember
that
the
actor
in
the
puppet
theatre
requires
a
wide
range of performance skills.
Discover
the
roles
and
functions
of
the
actor
on
the
puppet
stage.
Take risks – make each project a challenge.
Don’t copy. If you cannot improve on an idea don’t copy it.
Don’t deliver studio workshops for a paying audience.
Be passionate about what you do.
Beware of fashionable tendencies.
Most
puppeteers
lack
good
vocal
skills.
There
are
many
ways
of
developing
a
sonorous
voice.
There
are
many
basic
voice
training
programmes
on
the
internet,
also
good
voice
workshops
available elsewhere. Make use of them.
Learn
the
basics
of
stage
craft
and
the
craftsmanship
of
performance.
Maintain
production
values;
study
these
values
in
other
forms
of
entertainment.
Study
the
vast
riches
of
the
discoveries
of
previous
generations
of puppeteers worldwide.
Develop a passion for the art and craft of the puppet theatre.
There is no success without endless hard work and rehearsal.
Add something new no matter how insignificant.
John M. Blundall
August 2010
