http://www.youtube.com/watch?v=pPTUA_wdp78
Okay, for starters, I need to once again address how important the Jim Henson company was to me when I was a child. The TV show Dinosaurs was a mainstay of my young adult life; ever Friday night, my parents and I would watch the show and be equally entertained. The clip is from the ending of the final episode of the series, in which the dinosaurs know they will become extinct due to their destrucion of the environment. My mom cried at this episode as I did and still do. Several years ago, I found all four seasons for sale at Target. I spent the then unnecessary $50 and have been reentertained. This is a prime example of "Children/Adult Puppetry." It's just good. Enjoy the clip and the trip down memory lane.
http://www.mudeyepuppets.org/
I found this company, Mudeye Puppets. They specialize in not only educational puppetry, but education about self-esteem. The 9-year-old puppetry company has performed in libraries, classrooms, and parades. Bruce Orr (who I believe has been referenced in the textbook somewhere, but I can't give you a definite page number) began the company as a PSA-type show, but the incorporation of newer artists and a changing world have made the show evolve into a type of "S.O.S. Players of puppetry" that not only educates about everyday topics, but also teaches puppetry workshops. They sound quite cool. Read about them and their cleverly-named puppet friends.
Thursday, April 21, 2011
Friday, April 8, 2011
"Whobu? Ubu."
I find the most interesting example of puppetry can be found in the show Ubu Roi. The entirety of the show is a monumental and stalwart hallmark of puppetry in performance.
Beginning in 1888, Ubu was formed to be a show that mocked playwright Alfred Jarry's (and his classmates') physics teacher. The teacher must have been a ridiculous tyrant in practice, because the show's protagonist is anything but a protagonist. In the grandest example of an anti-hero I think I've ever encountered, Ubu parodies Shakespeare's Macbeth, Richard III, and Hamlet only with more bloodshed (metaphorically speaking), less Scottish accents, and more dirty jokes... Yeah.
The show's graphic depictions of characters being flushed down toilets, stabbed, impaled, and torn in half to death is both comedic and at the same time terrifying to think of in the scope of the real world. Due to this, Jarry's initial attempts to perform the show ended in rioting, leading to the show's close after its initial performance. Jarry revised the show, all but removing the actors and inserting puppets, specifically marionettes to be Ubu's victims. This would turn out to be the wisest move Jarry would make in reference to Ubu; the play caught on like wildfire, and has since been used as a social critique of ANY tyrannical idiot in power.
Numerous productions have been done since Jarry's death at the age of 34 (that's 1907, folks), and in fact there are two sequels that were performed, but never caught on--Ubu Cuckolded and Ubu Enchained--because they were never performed with Jarry's direction. Enclosed, you'll find the link to a live-action version of Ubu using actual actors in Commedia del'Arte masks. I hope you'll enjoy it (although, you probably won't unless you speak French. Which I don't. But I still like it. And even if you don't like it, I'll still like you. Unless you don't like it.).
Ubu Roi
Beginning in 1888, Ubu was formed to be a show that mocked playwright Alfred Jarry's (and his classmates') physics teacher. The teacher must have been a ridiculous tyrant in practice, because the show's protagonist is anything but a protagonist. In the grandest example of an anti-hero I think I've ever encountered, Ubu parodies Shakespeare's Macbeth, Richard III, and Hamlet only with more bloodshed (metaphorically speaking), less Scottish accents, and more dirty jokes... Yeah.
The show's graphic depictions of characters being flushed down toilets, stabbed, impaled, and torn in half to death is both comedic and at the same time terrifying to think of in the scope of the real world. Due to this, Jarry's initial attempts to perform the show ended in rioting, leading to the show's close after its initial performance. Jarry revised the show, all but removing the actors and inserting puppets, specifically marionettes to be Ubu's victims. This would turn out to be the wisest move Jarry would make in reference to Ubu; the play caught on like wildfire, and has since been used as a social critique of ANY tyrannical idiot in power.
Numerous productions have been done since Jarry's death at the age of 34 (that's 1907, folks), and in fact there are two sequels that were performed, but never caught on--Ubu Cuckolded and Ubu Enchained--because they were never performed with Jarry's direction. Enclosed, you'll find the link to a live-action version of Ubu using actual actors in Commedia del'Arte masks. I hope you'll enjoy it (although, you probably won't unless you speak French. Which I don't. But I still like it. And even if you don't like it, I'll still like you. Unless you don't like it.).
Ubu Roi
Thursday, February 24, 2011
The Devil's Violin; Plaything, or Criticism?
I think of all the puppets depicted in chapter four, I really enjoyed the "Devil's Violin." This is most likely due to the fact that I've always wanted to play the violin, but also because I thought it was adorable in a moderately creepy sort of way.
The puppet originated in Gdansk, Poland as a social commentary of the evils of secular music. As such, the puppet is comprised of an actual violin body with the various attributes of a violin representing body parts (tuning pegs = Creepy Eyes). I think what really works for this puppet is that it is considered a piece of avant-garde puppetry, but the puppet itself is actually quite crude.
As I've always found the violin to be a beautiful instrument in and of itself, I thought it was quite clever to invert the intricacies of the instrument (scrolling on the woodwork, the f holes, etc) and turn them into gruesome depictions of tantalizing evil. In doing this, I suppose the performers paved the way for art to criticize itself, to let society dictate what is appropriate through means of vilifying what encroached on puritanical ideals. Good work, Gdansk puppeteer. Good work.
The puppet originated in Gdansk, Poland as a social commentary of the evils of secular music. As such, the puppet is comprised of an actual violin body with the various attributes of a violin representing body parts (tuning pegs = Creepy Eyes). I think what really works for this puppet is that it is considered a piece of avant-garde puppetry, but the puppet itself is actually quite crude.
As I've always found the violin to be a beautiful instrument in and of itself, I thought it was quite clever to invert the intricacies of the instrument (scrolling on the woodwork, the f holes, etc) and turn them into gruesome depictions of tantalizing evil. In doing this, I suppose the performers paved the way for art to criticize itself, to let society dictate what is appropriate through means of vilifying what encroached on puritanical ideals. Good work, Gdansk puppeteer. Good work.
Tuesday, February 15, 2011
The Most Awesomest Puppet Show Caught on Fil-um
I must begin this post by sharing the fact that I am super upset that I could not see Symphonie Fantastique live. I feel that the show must definitely lose something in translation between live and filmed performance (you know, because everything else does), but that doesn't make me want to see it any less. I love the film, I love watching the film, I want to own this film. Okay, I don't necessarily want to own the film, I just want to watch it more often.
Anyway, down to bizness.
The First example occurs during the Basil Twist portion of the film. It is apparent that Symphonie Fantastique draws on many different inspirations. The puppets, however, do not seem to draw on any one source. Rather, they seem to be free-floating entities in the world of puppetry. I suppose one could posit that many of the mechanisms used to cause currents in the tank could be seen in examples of Renaissance theatrics (because they were renowned for being simple, yet innovative). This is a bad example, I just wanted to talk about the show.
Using the music as a method of conveying some sort of story, the show's purpose seems to primarily be to allow the audience to create its own show. Some puppets convey an idea of expression; shadows of real-life things created by real-life things in an unrealistic way. If anything, I suppose one could say that the puppets are symbolic... This is a bad example.
The second example I found occurs during the Ralph Lee portion. There are a plethora of examples available connecting American Puppetry to World cultures. The puppets represented in the Hallowe'en parades Lee designed conjure up images of Day of the Dead festivities in Mexico (specifically the skellingtons), and the parade itself is almost a send-up of the Italian Carnivale.
In Lee's shows, there are examples of Commedia del'Arte in the acting styles, Medieval music, Bunraku-inspired puppets, and characters inspired by the art of French Mime. Many, many things to see examples of.
Michael Curry's section of the film draws more on Lee's section in the sense that he too contributes to the Hallowe'en festival parade in Greenwich village. His puppets also conjure up images of Chinese puppets (ie the dragon puppets). He also draws on inspiration in the natural world as seen in his New Year's Eve puppet of a jellyfish. To accomplish this, Curry uses classical sculpting techniques to make what is essentially garbage into works of out-of-this-world art.
***I apologize for this late entry; I had written it on the day it was due, but forgot to click publish. It has been written for almost a week, saved in my account.
Anyway, down to bizness.
The First example occurs during the Basil Twist portion of the film. It is apparent that Symphonie Fantastique draws on many different inspirations. The puppets, however, do not seem to draw on any one source. Rather, they seem to be free-floating entities in the world of puppetry. I suppose one could posit that many of the mechanisms used to cause currents in the tank could be seen in examples of Renaissance theatrics (because they were renowned for being simple, yet innovative). This is a bad example, I just wanted to talk about the show.
Using the music as a method of conveying some sort of story, the show's purpose seems to primarily be to allow the audience to create its own show. Some puppets convey an idea of expression; shadows of real-life things created by real-life things in an unrealistic way. If anything, I suppose one could say that the puppets are symbolic... This is a bad example.
The second example I found occurs during the Ralph Lee portion. There are a plethora of examples available connecting American Puppetry to World cultures. The puppets represented in the Hallowe'en parades Lee designed conjure up images of Day of the Dead festivities in Mexico (specifically the skellingtons), and the parade itself is almost a send-up of the Italian Carnivale.
In Lee's shows, there are examples of Commedia del'Arte in the acting styles, Medieval music, Bunraku-inspired puppets, and characters inspired by the art of French Mime. Many, many things to see examples of.
Michael Curry's section of the film draws more on Lee's section in the sense that he too contributes to the Hallowe'en festival parade in Greenwich village. His puppets also conjure up images of Chinese puppets (ie the dragon puppets). He also draws on inspiration in the natural world as seen in his New Year's Eve puppet of a jellyfish. To accomplish this, Curry uses classical sculpting techniques to make what is essentially garbage into works of out-of-this-world art.
***I apologize for this late entry; I had written it on the day it was due, but forgot to click publish. It has been written for almost a week, saved in my account.
Wednesday, February 2, 2011
Discussion Questions from 2/1/11 for 2/3/11
Robin Asks: "What is important about how puppets reflected the political views of a culture, particularly in the early years of puppetry?"
We answered in class: "Puppets can be a form of soft criticism which offer political agendas through satire, farce, or outright representation of 'bad politics.' They also can offer a chance to represent an ideal government or political situation. This was especially a necessary form of political revolt due to the brutal nature of the developing world, as puppets offer performers sanctuary through the plausible deniability of puppets being the actual performers. No matter how ineffective blaming inanimate objects may be."
Group, do we have to say anything else?
We answered in class: "Puppets can be a form of soft criticism which offer political agendas through satire, farce, or outright representation of 'bad politics.' They also can offer a chance to represent an ideal government or political situation. This was especially a necessary form of political revolt due to the brutal nature of the developing world, as puppets offer performers sanctuary through the plausible deniability of puppets being the actual performers. No matter how ineffective blaming inanimate objects may be."
Group, do we have to say anything else?
Sunday, January 30, 2011
Animate Inanimates--The DC and Me
For my first blog entry, I endeavor to recall what is perhaps the most striking moment for me regarding puppets. I was about five or six, and I begged my mom to rent me a copy of Jim Henson's The Dark Crystal (and anyone who may say that TDC doesn't count for this entry CLEARLY has never seen the film because it is indeed a momentous feat in the world of puppetry). Little did I know when I was watching it that there were not only no human performers visible, but that the creatures depicted in the film were, in fact, not real creatures in our world. I suppose I imagined them as being some sort of alien life forms enslaved by Hollywood to do the bidding of Film Executives.
These puppets walk, talk, do everything a human is supposed to do, but they are obviously NOT human (which is different from inhuman, which is the display of non-human characteristics) and never claim to be. Needless to say I was terrified; these are not the Jim Henson Muppets. They are neither made of mop, nor are they truly puppets (metaphorically speaking. They are, in fact, puppets).
Regardless as to whether or not the puppets were actually alive or not, the experience was, at the time, jarring and a bit scarring; some of these puppets were and still are the things of nightmares for me.
It was only recently (like, five or six years ago) that I rewatched the movie, having sternly vowed that the film was just too terrifying to be watched by anyone more than once. Seeing it in a $5 bin at Walmart made me think "Hmm... I could buy it, and then if I still don't like it, I can give/throw it away." So, I bought it.
It was upon my second watching of the film that I realized what artistry went into the film's development. What began as hugely detailed drawings from artist/author/designer/Monty Python contributor Brian Froud became a fantastic orgy for those inclined toward fantasy visuals and puppet enthusiasts. No human is seen for the entire film (as stated before), yet some puppets (life-sized--this is Henson, so there was no scrimping on puppets) were physically performed by two or sometimes three people!
I immediately realized how important the film was. I also realized that after having believed the characters realism as a child, I still believed in their realism. I think they're real. I don't care who knows it. Anyone who has seen the film knows full well that this is no ordinary movie; it's magic. Jim Henson is known as a great artist in his field, this movie displays that fact for all to see. Its magic is in its ability to make anyone cringe at the Skesis (horrifying vulture lizard people) and want to hug an Uru (wise, mystical four-armed sloth-like people) no matter what their age. The creation of a puppet is simply the writing out of a spell. The animation, the "believeabitlity" of a puppet (an animate inanimate) is the true magic.
I said far earlier in this post that these puppets were not actually puppets and that I had said that metaphorically... or is it rhetorically... Anyway, the puppets in this film are no mere hands in socks. They are creatures of beauty (even the ugly creatures) because in the world of the film, humans don't exist. They are the only living creatures on the screen to the viewer, therefore the viewer (i.e. ME) whether 5 or 18 can believe that they are living, breathing creatures.
I have heard rumors for years that a sequel is in development. I recently heard that it will be released next summer (2012). I shall be there, hoping that Hollywood doesn't use the puppets as a soulless source of cashflow. Also, the puppets will be fully animatronic; no human performers in costumes... What will be lost?
Oh, and here's a link to the trailer. Watch it if you like:
The Dark Crystal--1982 Trailer
These puppets walk, talk, do everything a human is supposed to do, but they are obviously NOT human (which is different from inhuman, which is the display of non-human characteristics) and never claim to be. Needless to say I was terrified; these are not the Jim Henson Muppets. They are neither made of mop, nor are they truly puppets (metaphorically speaking. They are, in fact, puppets).
Regardless as to whether or not the puppets were actually alive or not, the experience was, at the time, jarring and a bit scarring; some of these puppets were and still are the things of nightmares for me.
It was only recently (like, five or six years ago) that I rewatched the movie, having sternly vowed that the film was just too terrifying to be watched by anyone more than once. Seeing it in a $5 bin at Walmart made me think "Hmm... I could buy it, and then if I still don't like it, I can give/throw it away." So, I bought it.
It was upon my second watching of the film that I realized what artistry went into the film's development. What began as hugely detailed drawings from artist/author/designer/Monty Python contributor Brian Froud became a fantastic orgy for those inclined toward fantasy visuals and puppet enthusiasts. No human is seen for the entire film (as stated before), yet some puppets (life-sized--this is Henson, so there was no scrimping on puppets) were physically performed by two or sometimes three people!
I immediately realized how important the film was. I also realized that after having believed the characters realism as a child, I still believed in their realism. I think they're real. I don't care who knows it. Anyone who has seen the film knows full well that this is no ordinary movie; it's magic. Jim Henson is known as a great artist in his field, this movie displays that fact for all to see. Its magic is in its ability to make anyone cringe at the Skesis (horrifying vulture lizard people) and want to hug an Uru (wise, mystical four-armed sloth-like people) no matter what their age. The creation of a puppet is simply the writing out of a spell. The animation, the "believeabitlity" of a puppet (an animate inanimate) is the true magic.
I said far earlier in this post that these puppets were not actually puppets and that I had said that metaphorically... or is it rhetorically... Anyway, the puppets in this film are no mere hands in socks. They are creatures of beauty (even the ugly creatures) because in the world of the film, humans don't exist. They are the only living creatures on the screen to the viewer, therefore the viewer (i.e. ME) whether 5 or 18 can believe that they are living, breathing creatures.
I have heard rumors for years that a sequel is in development. I recently heard that it will be released next summer (2012). I shall be there, hoping that Hollywood doesn't use the puppets as a soulless source of cashflow. Also, the puppets will be fully animatronic; no human performers in costumes... What will be lost?
Oh, and here's a link to the trailer. Watch it if you like:
The Dark Crystal--1982 Trailer
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