NAVIGATION
SOCIAL
CONTACT
e-mail: info@theworldthroughwoodeneyes.co.uk
The Decline of
the Marionette
In
the
last
Puppet
Master
Chris
Somerville
wrote
about
the
decline
of
the
marionette.
Of
all
the
various
puppet
techniques
the
marionette
is
one
of
the
most
complex
requiring
good
design,
construction,
also
lengthy
rehearsal
and
general
practice
over
a
long
period
time.
Yes,
intending
puppeteers,
or
actors
looking
for
other
options
for
performing
chose
techniques
that
are
easier
to
create
are
obviously
inclined
to
avoid
the
marionette.
All
puppet
techniques
require
in
depth
study
of
the
body
language
of
different
types
of
character
and
their
inner
life
and
actions.
One
problem
of
the
marionette
can
be
the
length
of
strings,
particularly
long
ones.
The
soul
of
the
puppet
is
in
the
palm
of
the
hand,
and
the
further
the
puppet
is
away
from
the
hand
the
less
life,
soul
and
character
it
has.
There
is
not
only
a
decline
in
the
marionette
but
other
techniques
too,
in
design,
technical
development,
direction, writing, manipulation and fundamental stage craft and the craftsmanship of performance.
Regularly
meeting
intending
puppeteers
and
students
from
schools
of
art,
design
and
theatre
who
are
hoping
to
make
puppet
theatre
a
part
of
their
career
structure,
or
who
secure
a
commission
to
create
puppets
for
productions
rarely
realise
the
complexities
of
the
art
and
craft
of
the
subject.
They
come
with
a
concept
for
a
project,
but
after
assessing
their
ability
to
realise
the
concept
you
quickly
discover
that
they
have
no
basic
skills,
knowledge
or
experience
of
the
puppet
theatre.
In
some
cases
they
are
not
prepared
to
undertake
a
period
of
preparation
and
research
to
discover
what
has
been
achieve by generations of puppeteers worldwide, also the components of puppet theatre production, and the competition that surrounds them.
I
usually
request
that
they
ask
themselves
three
questions.
Why
do
they
want
to
do
it,
for
whom
do
they
want
to
do
it
and
then
how
do
they
want
to
do
it.
This
is
followed
by
a
SWAT
Job,
to
assess
their
strength,
weakness,
opportunities
and
threats.
There
is
general
concept
that
the
puppet
and
the
puppet
theatre
can
be
anything,
and
anyone
can
do
it.
There
are
short
courses
for
intending
puppeteers
that
focus
on
manipulation
of
disposable
objects,
but
rarely
the
art
and
craft
of
the
puppet
theatre
as
a
complex
form
of
performance
art
of
ancient
origin.
It
is
important
to
explore
new
and
innovative
ideas,
also
attract
new
audiences,
but
by
flooding
an
over
stretched
market
with
mediocre
puppet
theatre
productions
can
result
in
the
decline
of
the
paying
audience
that
is
familiar
with
the
exceptional
levels
of
production
values
in
the
arts,
theatre,
film
and
television
that
are
the
puppet theatres competitors.
Some
puppeteers
start
companies
without
any
form
of
training
or
experience.
The
work
produced
is
frequently
copies
of
fashionable
forms
that
demonstrate,
and
perpetuate,
bad
production
and
performance
habits
that
are
difficult
to
change
later
on.
We
see
puppet
shows
advertised
where
there
are
no
puppets.
There
are
efforts
to
remove
the
word
‘puppet’,
replacing
it
with
confusing
titles.
There
are
productions
that
have
puppets
in
them
that
are totally dominated by the human performer, where badly made puppets become lifeless props lacking any individual soul, personality or character.
The
puppet
theatre
is
a
rewarding
career;
not
always
financial,
also
a
fascinating
hobby.
A
strong
amateur
infrastructure
is
very
important.
Opportunities
to
explore
ways
and
means
of
creating
innovative
work,
free
of
the
pressure
to
just
making
a
living
is
important
factor.
There
are
opportunities
to
create
multimedia
and
innovative
puppet
theatre
productions
with
high
levels
of
production
values,
but
there
is
a
real
need
to
return
to
a
sound
basis
of
skill
and
craftsmanship
to
underpin
the
creation
of
new
work.
There
is
no
future
without
the
past,
and
we
often
need
to
go
backwards
to go forward.
The
British
Puppet
and
Model
Theatre
Guild
is
a
well
established
organisation
that
plays
a
significant
role
in
the
development
of
the
art
and
craft
of
the
puppet
theatre,
and
is
a
sustaining
mechanism
that
is
populated
with
a
lively
membership
combining
both
amateurs,
and
professional
puppeteers.
What
we
need
to
do
is
to
attract
a
new
and
vibrant,
younger
generation
of
individuals
prepared
to
commit
themselves
to
a
programme
of
intense
research
and
practice
to
discover
ways
and
means
of
creating
new
and
innovative
work.
There
are
interesting
and
talented
young
people
with
good
ideas,
but
they
will
need
to
be
supported
and
inspired
by
leading
practitioners
producing
the
most
advanced
and
interesting
work.
Without
them
there
will
be
very
little development.
There
are
some
outstanding
resources
available
for
puppeteers
to
enhance
their
skills
and
experience
but
they
are
often
ignored.
There
are
workshops
and
courses
based
on
visual
and
physical
performance
art
that
frequently
latch
on
a
puppetry
component
as
an
extra
tool,
they
are
often
led
by
people
without
knowledge
or
experience
of
the
art
and
craft
of
the
puppet
theatre.
We
meet
college
lecturers
asking
for
workshops
for
students,
mainly
short
craft
workshops
of
an
hour
or
so.
Others
ask
for
a
short
basic
workshop
to
take
back
to
teach
the
students.
If
lectures
take
the
view
that
the
puppet
theatre is an easy option, how are students expected to take it seriously.
Like
so
many
elements
of
daily
living,
the
puppet
theatre
is
led
by
finance
rather
that
the
art
and
craft
of
the
subject.
The
craftsmanship
of
performance
is
not
only
a
question
of
the
making
of
the
puppet
itself,
but
also
the
many
other
components
of
production.
The
puppet,
and
the
puppet
theatre,
is
open
to
exploitation.
Fashionable
forms
tend
to
use
performers
that
dominate
the
puppet
as
the
central
means
of
expression.
The
performers
become
technical
operators,
two
or
more
performers’
work
with
one
figure
that
often
loses
its
own
independent
character
and
personality.
The
fashion
for
puppets
appearing
in
dramatic
theatre
works
is
sometimes
marred
by
the
lack
of
knowledge
and
experience
of
the
director
in
the
understanding
of
the
role,
function
and
potential
of
different
techniques
of
puppet,
and
how
they
are
best
combined
in
the
structure
of
a
play.
The
puppet
is
directed
as
a
human being, instead of the puppet with its own unique qualities, role, function and potential.
Many
years
ago
whilst
we
were
involved
in
the
development
of
the
Charleville
Mezieres
International
Institute
for
Puppet
Theatre,
in
a
dialogue
with
Sergei
Obraztsov
he
stated
that
it
was
pointless
training
vast
numbers
of
puppeteers
if
we
first
could
not
find,
or
train
highly
skilled
and
knowledgeable
Artistic
Leaders
to
make
the
best
use
of
them.
How
right
he
was.
There
have
to
be
changes,
and
new
and
innovative
ideas
explored.
There
are
some
excellent
performances
using
puppets,
but
there
is
a
real
need
to
find
ways
and
means
of
involving
young
people
in
the
puppet
theatre,
to
create
opportunities
for
them
to
learn
the
skills
and
craftsmanship
in
all
components
of
the
puppet
theatre
production
and
to
provide
them
with
challenges
and
the best artistic leaders to inspire them.
John Blundall.
February 2011.
CONTACT
e-mail: info@theworldthroughwoodeneyes.co.uk
SOCIAL
The Decline of
the Marionette
In
the
last
Puppet
Master
Chris
Somerville
wrote
about
the
decline
of
the
marionette.
Of
all
the
various
puppet
techniques
the
marionette
is
one
of
the
most
complex
requiring
good
design,
construction,
also
lengthy
rehearsal
and
general
practice
over
a
long
period
time.
Yes,
intending
puppeteers,
or
actors
looking
for
other
options
for
performing
chose
techniques
that
are
easier
to
create
are
obviously
inclined
to
avoid
the
marionette.
All
puppet
techniques
require
in
depth
study
of
the
body
language
of
different
types
of
character
and
their
inner
life
and
actions.
One
problem
of
the
marionette
can
be
the
length
of
strings,
particularly
long
ones.
The
soul
of
the
puppet
is
in
the
palm
of
the
hand,
and
the
further
the
puppet
is
away
from
the
hand
the
less
life,
soul
and
character
it
has.
There
is
not
only
a
decline
in
the
marionette
but
other
techniques
too,
in
design,
technical
development,
direction,
writing,
manipulation
and
fundamental
stage
craft
and
the
craftsmanship
of
performance.
Regularly
meeting
intending
puppeteers
and
students
from
schools
of
art,
design
and
theatre
who
are
hoping
to
make
puppet
theatre
a
part
of
their
career
structure,
or
who
secure
a
commission
to
create
puppets
for
productions
rarely
realise
the
complexities
of
the
art
and
craft
of
the
subject.
They
come
with
a
concept
for
a
project,
but
after
assessing
their
ability
to
realise
the
concept
you
quickly
discover
that
they
have
no
basic
skills,
knowledge
or
experience
of
the
puppet
theatre.
In
some
cases
they
are
not
prepared
to
undertake
a
period
of
preparation
and
research
to
discover
what
has
been
achieve
by
generations
of
puppeteers
worldwide,
also
the
components
of
puppet
theatre
production,
and
the
competition
that
surrounds
them.
I
usually
request
that
they
ask
themselves
three
questions.
Why
do
they
want
to
do
it,
for
whom
do
they
want
to
do
it
and
then
how
do
they
want
to
do
it.
This
is
followed
by
a
SWAT
Job,
to
assess
their
strength,
weakness,
opportunities
and
threats.
There
is
general
concept
that
the
puppet
and
the
puppet
theatre
can
be
anything,
and
anyone
can
do
it.
There
are
short
courses
for
intending
puppeteers
that
focus
on
manipulation
of
disposable
objects,
but
rarely
the
art
and
craft
of
the
puppet
theatre
as
a
complex
form
of
performance
art
of
ancient
origin.
It
is
important
to
explore
new
and
innovative
ideas,
also
attract
new
audiences,
but
by
flooding
an
over
stretched
market
with
mediocre
puppet
theatre
productions
can
result
in
the
decline
of
the
paying
audience
that
is
familiar
with
the
exceptional
levels
of
production
values
in
the
arts,
theatre,
film
and
television
that
are the puppet theatres competitors.
Some
puppeteers
start
companies
without
any
form
of
training
or
experience.
The
work
produced
is
frequently
copies
of
fashionable
forms
that
demonstrate,
and
perpetuate,
bad
production
and
performance
habits
that
are
difficult
to
change
later
on.
We
see
puppet
shows
advertised
where
there
are
no
puppets.
There
are
efforts
to
remove
the
word
‘puppet’,
replacing
it
with
confusing
titles.
There
are
productions
that
have
puppets
in
them
that
are
totally
dominated
by
the
human
performer,
where
badly
made
puppets
become
lifeless
props
lacking any individual soul, personality or character.
The
puppet
theatre
is
a
rewarding
career;
not
always
financial,
also
a
fascinating
hobby.
A
strong
amateur
infrastructure
is
very
important.
Opportunities
to
explore
ways
and
means
of
creating
innovative
work,
free
of
the
pressure
to
just
making
a
living
is
important
factor.
There
are
opportunities
to
create
multimedia
and
innovative
puppet
theatre
productions
with
high
levels
of
production
values,
but
there
is
a
real
need
to
return
to
a
sound
basis
of
skill
and
craftsmanship
to
underpin
the
creation
of
new
work.
There
is
no
future
without
the
past,
and
we often need to go backwards to go forward.
The
British
Puppet
and
Model
Theatre
Guild
is
a
well
established
organisation
that
plays
a
significant
role
in
the
development
of
the
art
and
craft
of
the
puppet
theatre,
and
is
a
sustaining
mechanism
that
is
populated
with
a
lively
membership
combining
both
amateurs,
and
professional
puppeteers.
What
we
need
to
do
is
to
attract
a
new
and
vibrant,
younger
generation
of
individuals
prepared
to
commit
themselves
to
a
programme
of
intense
research
and
practice
to
discover
ways
and
means
of
creating
new
and
innovative
work.
There
are
interesting
and
talented
young
people
with
good
ideas,
but
they
will
need
to
be
supported
and
inspired
by
leading
practitioners
producing
the
most
advanced
and
interesting
work.
Without
them there will be very little development.
There
are
some
outstanding
resources
available
for
puppeteers
to
enhance
their
skills
and
experience
but
they
are
often
ignored.
There
are
workshops
and
courses
based
on
visual
and
physical
performance
art
that
frequently
latch
on
a
puppetry
component
as
an
extra
tool,
they
are
often
led
by
people
without
knowledge
or
experience
of
the
art
and
craft
of
the
puppet
theatre.
We
meet
college
lecturers
asking
for
workshops
for
students,
mainly
short
craft
workshops
of
an
hour
or
so.
Others
ask
for
a
short
basic
workshop
to
take
back
to
teach
the
students.
If
lectures
take
the
view
that
the
puppet
theatre
is
an
easy option, how are students expected to take it seriously.
Like
so
many
elements
of
daily
living,
the
puppet
theatre
is
led
by
finance
rather
that
the
art
and
craft
of
the
subject.
The
craftsmanship
of
performance
is
not
only
a
question
of
the
making
of
the
puppet
itself,
but
also
the
many
other
components
of
production.
The
puppet,
and
the
puppet
theatre,
is
open
to
exploitation.
Fashionable
forms
tend
to
use
performers
that
dominate
the
puppet
as
the
central
means
of
expression.
The
performers
become
technical
operators,
two
or
more
performers’
work
with
one
figure
that
often
loses
its
own
independent
character
and
personality.
The
fashion
for
puppets
appearing
in
dramatic
theatre
works
is
sometimes
marred
by
the
lack
of
knowledge
and
experience
of
the
director
in
the
understanding
of
the
role,
function
and
potential
of
different
techniques
of
puppet,
and
how
they
are
best
combined
in
the
structure
of
a
play.
The
puppet
is
directed
as
a
human
being,
instead
of
the
puppet
with
its
own
unique
qualities,
role,
function and potential.
Many
years
ago
whilst
we
were
involved
in
the
development
of
the
Charleville
Mezieres
International
Institute
for
Puppet
Theatre,
in
a
dialogue
with
Sergei
Obraztsov
he
stated
that
it
was
pointless
training
vast
numbers
of
puppeteers
if
we
first
could
not
find,
or
train
highly
skilled
and
knowledgeable
Artistic
Leaders
to
make
the
best
use
of
them.
How
right
he
was.
There
have
to
be
changes,
and
new
and
innovative
ideas
explored.
There
are
some
excellent
performances
using
puppets,
but
there
is
a
real
need
to
find
ways
and
means
of
involving
young
people
in
the
puppet
theatre,
to
create
opportunities
for
them
to
learn
the
skills
and
craftsmanship
in
all
components
of
the
puppet
theatre
production
and
to
provide
them
with
challenges
and the best artistic leaders to inspire them.
John Blundall.
February 2011.
