(Dub) 184 : Puppets ((NEW))

There are many different varieties of puppets, and they are made of a wide range of materials, depending on their form and intended use. They can be extremely complex or very simple in their construction. The simplest puppets are finger puppets, which are tiny puppets that fit onto a single finger, and sock puppets, which are formed from a sock and operated by inserting one's hand inside the sock, with the opening and closing of the hand simulating the movement of the puppet's "mouth". A hand puppet or glove puppet is controlled by one hand which occupies the interior of the puppet and moves the puppet around. Punch and Judy puppets are familiar examples. Other hand or glove puppets are larger and require two puppeteers for each puppet. Japanese Bunraku puppets are an example of this. Marionettes are suspended and controlled by a number of strings, plus sometimes a central rod attached to a control bar held from above by the puppeteer. Rod puppets are made from a head attached to a central rod. Over the rod is a body form with arms attached controlled by separate rods. They have more movement possibilities as a consequence than a simple hand or glove puppet.

(Dub) 184 : Puppets

Download File: https://www.google.com/url?q=https%3A%2F%2Furlcod.com%2F2udnZe&sa=D&sntz=1&usg=AOvVaw28YYKoPE0-HLlIHA5qnhVj

Puppetry is a very ancient form of theatre which was first recorded in the 5th century BC in Ancient Greece. Some forms of puppetry may have originated as long ago as 3000 years BC.[1] Puppetry takes many forms, but they all share the process of animating inanimate performing objects to tell a story. Puppetry occurs in almost all human societies where puppets are used for the purpose of entertainment through performance, as sacred objects in rituals, as symbolic effigies in celebrations such as carnivals, and as a catalyst for social and psychological change in transformative arts.[2]

Puppetry is a very ancient art form, thought to have originated about 4000 years ago.[1] Puppets have been used since the earliest times to animate and communicate the ideas and needs of human societies.[3] Some historians claim that they pre-date actors in theatre.[4] There is evidence that they were used in Egypt as early as 2000 BCE when string-operated figures of wood were manipulated to perform the action of kneading bread.[citation needed] Wire controlled, articulated puppets made of clay and ivory have also been found in Egyptian tombs.[citation needed] Hieroglyphs also describe "walking statues" being used in ancient Egyptian religious dramas.[1] Puppetry was practiced in ancient Greece and the oldest written records of puppetry can be found in the works of Herodotus and Xenophon, dating from the 5th century BC.[5][6][7]

Sub-Saharan Africa may have inherited some of the puppet traditions of ancient Egypt.[1] Certainly, secret societies in many African ethnic groups still use puppets (and masks) in ritual dramas as well as in their healing and hunting ceremonies.[citation needed] Today, puppetry continues as a popular form, often within a ceremonial context, and as part of a wide range of folk forms including dance, storytelling, and masked performance.[citation needed] In the 2010s throughout rural Africa, puppetry still performed the function of transmitting cultural values and ideas that in large African cities is increasingly undertaken by formal education, books, cinema, and television.[citation needed]

Japan has many forms of puppetry, including the bunraku. Bunraku developed out of Shinto temple rites and gradually became a highly sophisticated form of puppetry. Chikamatsu Monzaemon, considered by many to be Japan's greatest playwright, gave up writing kabuki plays and focused exclusively on the puppet-only bunraku plays. Initially consisting of one puppeteer, by 1730 three puppeteers were used to operate each puppet in full view of the audience.[1] The puppeteers, who dressed all in black, would become invisible when standing against a black background, while the torches illuminated only the carved, painted and costumed wooden puppets.

The Indonesian wayang theater was influenced by Indian traditions.[12] Some scholars trace the origin of puppets to India 4000 years ago, where the main character in Sanskrit plays was known as Sutradhara, "the holder of strings".[3] Wayang is a strong tradition of puppetry native to Indonesia, especially in Java and Bali. In Java, wayang kulit, an elaborate form of shadow puppetry, is very popular. Javanese rod puppets have a long history and are used to tell fables from Javanese history. Another popular puppetry form in Indonesia is wayang golek.

Vietnam developed the art form of water puppetry, unique to that country. The puppets are built out of wood and the shows are performed in a waist-high pool. A large rod under the water is used by puppeteers to support and control the puppets, creating the appearance of the puppets moving over water. The origin of this form of puppetry dates back seven hundred years when the rice fields would flood and the villagers would entertain each other. Puppet show competitions between Vietnamese villages eventually led to the creation of secretive and exclusive puppet societies.

The Philippines first developed its art of puppetry during the Spanish colonial period. The oldest known Filipino puppetry is the carrillo, also known as kikimut, titire, and potei. It was first recorded in 1879. It involves small carts used in puppet plays with figures made of cardboard utilized for shadow plays.[13][14] In the late 1800s, another Filipino puppetry developed. Higantes are giant papier-mâché puppets, numbering more than a hundred, paraded through town during the Higantes Festival. These puppets are made as a devotion to San Clemente and as a mockery against colonial-era land owners who discriminated Filipinos. Various traditions are connected with the higantes.[15][16] Since the 20th century, multiple puppet arts have developed in the Philippines.[13] A notable Filipino puppeteer is Amelia Lapeña Bonifacio.[17]

India has a long tradition of puppetry. In the ancient Indian epic Mahabharata there are references to puppets. Kathputli, a form of string puppet performance native to Rajasthan, is notable and there are many Indian ventriloquists and puppeteers. The first Indian ventriloquist, Professor Y. K. Padhye, introduced this form of puppetry to India in the 1920s and his son, Ramdas Padhye, subsequently popularised ventriloquism and puppetry. Almost all types of puppets are found in India.[18]

India has a rich and ancient tradition of string puppets or marionettes. Marionettes with jointed limbs controlled by strings allow far greater flexibility and are therefore the most articulate of the puppets. Rajasthan, Orissa, Karnataka and Tamil Nadu are some of the regions where this form of puppetry has flourished. The traditional marionettes of Rajasthan are known as Kathputli. Carved from a single piece of wood, these puppets are like large dolls that are colourfully dressed. The string puppets of Orissa are known as Kundhei. The string puppets of Karnataka are called Gombeyatta. Puppets from Tamil Nadu, known as Bommalattam, combine the techniques of rod and string puppets.

Shadow puppets are an ancient part of India's culture and art, particularly regionally as the keelu bomme and Tholu bommalata of Andhra Pradesh, the Togalu gombeyaata in Karnataka, the charma bahuli natya in Maharashtra, the Ravana chhaya in Odisha, the Tholpavakoothu in Kerala and the thol bommalatta in Tamil Nadu. Shadow puppet play is also found in pictorial traditions in India, such as temple mural painting, loose-leaf folio paintings, and the narrative paintings.[19] Dance forms such as the Chhau of Odisha literally mean "shadow".[20] The shadow theatre dance drama theatre are usually performed on platform stages attached to Hindu temples, and in some regions these are called Koothu Madams or Koothambalams.[21] In many regions, the puppet drama play is performed by itinerant artist families on temporary stages during major temple festivals.[22] Legends from the Hindu epics Ramayana and the Mahabharata dominate their repertoire.[22] However, the details and the stories vary regionally.[23][24]

According to Beth Osnes, the tholu bommalata shadow puppet theatre dates back to the 3rd century BCE, and has attracted patronage ever since.[25] The puppets used in a tholu bommalata performance, states Phyllis Dircks, are "translucent, lusciously multicolored leather figures four to five feet tall, and feature one or two articulated arms".[26] The process of making the puppets is an elaborate ritual, where the artist families in India pray, go into seclusion, produce the required art work, then celebrate the "metaphorical birth of a puppet" with flowers and incense.[27]

The tholu pava koothu of Kerala uses leather puppets whose images are projected on a backlit screen. The shadows are used to creatively express characters and stories in the Ramayana. A complete performance of the epic can take forty-one nights, while an abridged performance lasts as few as seven days.[28] One feature of the tholu pava koothu show is that it is a team performance of puppeteers, while other shadow plays such as the wayang of Indonesia are performed by a single puppeteer for the same Ramayana story.[28] There are regional differences within India in the puppet arts. For example, women play a major role in shadow play theatre in most parts of India, except in Kerala and Maharashtra.[22] Almost everywhere, except Odisha, the puppets are made from tanned deer skin, painted and articulated. Translucent leather puppets are typical in Andhra Pradesh and Tamil Nadu, while opaque puppets are typical in Kerala and Odisha. The artist troupes typically carry over a hundred puppets for their performance in rural India.[22] 041b061a72